Graduate Approach 2020-22: Architecture, Landscape Architecture, and Urban Design at WashU by WashU Sam Fox School

Approach

2020–2022 Graduate School of Architecture & Urban Design at Washington University in St. Louis

Approach 2020—2022

Editor Mónica Rivera Project Management Mónica Rivera Assistant Project Management Ellen Bailey, Macy Morley Concept Desescribir, Mónica Rivera Copyediting and Proofreading Melissa Von Rohr Texts Derek Hoeferlin, Mónica Rivera, Heather Woofter, Sam Fox School Faculty and Students Book Design and Production Desescribir Printing Agencia Gráfica Binding Legatoria Typefaces Real Pro Papers Munken Print White 1.5 80 g/m2 Constellation Snow Country 350 g/m2

Publisher Washington University in St. Louis Sam Fox School of Design & Visual Arts Graduate School of Architecture & Urban Design © 2023 Washington University in St. Louis. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the permission of the publisher. © Texts: Authors’ own, 2023 © Photographs: Authors’ own except as noted below, 2023 Photo Credits Peter Aaron (OTTO) p.6-7, 12; Kevin A. Roberts (WUSTL Photos) p.14-15; James Ewing (JBSA) p.16; Carol Green (WUSTL Photos) p.17, 23; Joshua White (JWPictures.com) p.18, 19; Devon Hill (WUSTL Photos) p.20, 33; Mónica Rivera p.21; Whitney Curtis (WUSTL Photos) p.22, 25, 43, 55; Dimitri Jackson p.24; José Hevia p.29; Danny Reise p.36-37; Derek Hoeferlin p.49, 50-51; Tony Blackwolf p.56-57 ISBN 979-8-9903366-0-5 Printed in Spain

Approach 2020—2022

Contents

8 Director’s Notes 12 Our Home in Weil Hall Graduate School Programs 28 Master of Architecture 38 Master of Science in Architectural Studies 42 Master of Science in Advanced Architectural Design 44 Master of Landscape Architecture 52 Master of Urban Design 58 Doctor of Sustainable Urbanism 60 Lectures & Events Master of Architecture Student Work 72 317 Architectural Design I 82 318 Architectural Design III 94 419 International Housing Studio 138 500–600 Advanced Architectural Design 284 616 Degree Project 376 Seminars Master of Landscape Architecture Student Work 456 401 Landscape Architecture Design I 466 402 Landscape Architecture Design II 476 501 Landscape Architecture Design III 498 502 Landscape Architecture Design IV 506 601 Landscape Architecture Design V 520 602 Landscape Architecture Design VI 528 Seminars Master of Urban Design Student Work 572 711 Elements of Urban Design 586 713 Metropolitan Design Elements 602 714 Global Urbanism Studio 616 Seminars 628 Faculty & Staff

The southwestern entrance to Campus.. From left, are three new buildings–Gary M. Sumers Welcome Center, Henry A. and Elvira H. Jubel Hall and Anabeth and John Weil Hall–as well as the Beaux Arts-era Givens Hall. WashU Approach

Director’s Notes Heather Woofter Sam and Marilyn Fox Professor Director, College of Architecture and Graduate School of Architecture & Urban Design

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This book is a selection of projects made by students in the Graduate School of Architecture & Urban Design at Washington University in St. Louis during the 2020–2021 and 2021-2022 academic years. The work reflects how, through critical thinking, research, and unique collaborative structures, the school gives students the means and motivation to improve our world. We find ourselves in challenging times. Global health concerns, human rights, migration, political divisions, and increased exposure to natural disasters call for a blitz approach to solving certain intricate complexities. Sometimes these overwhelming challenges overshadow core skills designers need to decipher problems outside their disciplines. Students need time, space, and a supportive environment for investigative thinking and learning their craft. At best, a school brings the two worlds into focus, a parallax view of education and the real world. Washington University’s Graduate School of Architecture & Urban Design is such a place. It is part of the Sam Fox School of Design & Visual Arts, which also includes the College of Architecture, College of Art, Graduate School of Art, and Mildred Lane Kemper Art Museum. This unique educational framework maintains the historical depth of standalone art and architecture schools and colleges while also allowing for fluid exchange between disciplines. Both the school and the university prioritize interdisciplinary education, breaking down the barriers found at many research institutions. For students, this means access to shared resources and makes it easier to study across different fields of inquiry. At the Graduate School of Architecture & Urban Design, we focus on the art of making buildings and places through our programs in architecture, landscape architecture, and urban design. Students are encouraged to invent through a process of creative discourse and reiterative study. Practicing architects, landscape architects, and urban designers work on critical research topics to advance the design discourse. Faculty wholly participate in the life of the school, expanding their approach to the disciplines and forming relationships that promote fluidity of immersive learning and discovery. Students and faculty work together in research and teaching assistant positions offered throughout their time in the school. Faculty expertise may originate in key research areas including: resilient cities, technology and the arts, social engagement, and discipline-based design practice. Each degree program has its version of Design Thinking and a final Degree Project, where students create an investigation and proposal. Specialists from around the world propel those designs to a

comprehensive understanding, helping students bridge the worlds of academia and practice to nurture and reform their newly learned skills and long-held beliefs. In the Master of Architecture program, students experience this synthesis before their penultimate studio with an international housing studio taught by practitioners from around the world who examine their home city with students. The faculty collaborate in rotations that model a different form of working. Our school is a place for experimentation, with a wide range of programs that collectively create open forums for new modes of thinking. Every day, students interact with architects, artists, designers, curators, and theorists. These encounters, even if brief or informal, influence student thinking and working. They offer the opportunity to see the spaces we share in an ever-evolving light. Students can access unique making facilities across the Sam Fox School, and attend workshops and classes alongside artists and other kinds of makers. Students challenge their thinking by engaging with one of the most impactful assets of the university—the St. Louis region. We are located at the epicenter of critical dialogues in social justice and ecology. St. Louis hails an inspiring architectural legacy, having been one of the most influential American cities at the turn of the century and home to a progressive mid-century modernist culture. Similar to many places, St. Louis experienced planning and zoning policies that worsened division and reduced open accessibility to municipal resources. This contemporary city is in a state of reconciliation and advancement. With many largescale infrastructural projects underway, there is still much work to be done in the public realm. The Sam Fox School established the Office for Socially Engaged Practice to connect us with campus partners, community advocates, and government programs to work on design initiatives. By responding directly to our community partners’ needs, our students and faculty have made a positive impact in St. Louis, advancing social justice through design. An example of the school’s depth of resources in this area includes The Divided City initiative. This research consortium is funded by the Mellon Foundation, connecting humanities scholars with architects, urban designers, landscape architects, legal scholars, sociologists, geographers, GIS cartographers, and others. Students and faculty enact positive social change with spatial and theoretical frameworks. St. Louis is also at the center of environmental issues. Two-thirds of the continent’s watershed passes by its doors. The most impactful ecological strategies start with an understanding of complex natural systems that WashU Approach

transition and transform while marking the effects of global warming. We partner with the Missouri Botanical Garden, the Danforth Plant Science Center, and others to examine and propose positive changes to our environment. As the boundaries between nations dissolve and refortify, our cultures, economies, and ecosystems become more connected. We strive to create diversity in the college setting and to provide opportunities for our students to travel. By understanding global issues, we prepare students to adapt to and practice in varied environments. International studios and weeklong intensives are team-taught by regional experts and our faculty, creating an immersive experience aligned with the research practices at home. More than ever, our students want to bring design education closer to the citizenry—to expand their sense of responsibility and be problem solvers working in real-world conditions. Through research groups in building technology, cultural arts, ecology, housing, history, and urban sustainability, students make connections with people intent on changing the world and how we live in it.

Our Home in Weil Hall

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Opened in fall 2019, Anabeth and John Weil Hall is a hub for our graduate programs in Architecture, Landscape Architecture, Urban Design, Illustration & Visual Culture, and Visual Art. Designed by the architecture firm KieranTimberlake, the 82,000-square-foot facility was awarded LEED Platinum certification in 2020. It features flexible spaces on the second and third floors for individual studio spaces across programs—including the William A. Bernoudy Architecture Studio—along with numerous pinup and critique areas. These studio spaces wrap around the two-story Kuehner Court, which features a living green wall and provides a communal space. The building is designed with transparency and visibility in mind, promoting opportunities for meaningful, everyday exchange for students and faculty across disciplines. The main floor of Weil Hall features the Caleres Fabrication Studio, which supports the execution of complex projects using industry-grade tools, including laser cutters, 3D printers, a large-format CNC milling machine, vacuum and thermoforming, and a knife plotter. Other areas of the building include exhibition and project spaces and an experimental studio for video, film, and time-based media. Weil Hall offers ready connections to the rest of the School’s facilities and buildings. Among them are wood and metal shops staffed by expert teaching technicians; a new textile studio that enables exploration with traditional techniques like batik and screen-printing, as well as 3D-printed fabrics and accessories, experimental and sustainable textile recycling, and architectural applications; plaster and mold-making, foundry, and ceramics facilities; and numerous exterior spaces that provide opportunities for large-scale investigations. Directly across from Weil Hall, the Mildred Lane Kemper Art Museum is a significant resource for students and faculty. After a major expansion led by KieranTimberlake, the Museum reopened in fall 2019 with the exhibition Ai Weiwei: Bare Life and a Q&A with the renowned artist and activist. The Museum offers three floors of gallery space to showcase its world-class permanent collection and exhibitions of leading modern and contemporary art, architecture, and design. Weil Hall and the Museum expansion were two key components of the East End Transformation project, the largest capital project in the University’s recent history. The project added five new buildings and relocated hundreds of surface parking spaces underground. It also included the creation of the expansive Ann and Andrew Tisch Park, a welcoming entrance to campus and gathering place that provides greater connectivity between the Sam Fox School and other portions of campus.

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With its abundant natural light and flexible, loft-style studios and workspaces, Weil Hall is a new locus for teaching, study, creation, and critique. Studios feature L-shaped desks for each student, to support working simultaneously in digital and analog media.

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Weil Hall’s flexible spaces provide students in architecture, landscape architecture, and urban design ample room to work, and to engage in pinups and critiques.

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Our programs facilitate collaboration and dialogue, not only among peers in architecture, landscape architecture, and urban design, but across other disciplines within the School and University. Faculty wholly participate in the life of the School, expanding their approach to the disciplines and forming relationships that promote fluidity of immersive learning and discovery. Students and faculty work together in research and teaching assistant positions offered throughout their time in the School.

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The Sam Fox School of Design & Visual Arts launched Fox Fridays, a way for students to celebrate making of all forms by accessing the many fabrication and discipline-specific shops at Washington University in St. Louis. Fox Fridays is a weekly, low-stress workshop series introducing the WashU community to overlooked or lesser-known tools, resources, processes, and ideas. It provides a platform for students to develop hybridized practices of creative output that transcend discipline, medium, and experience.

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Fox Fridays: Steam Bending Wood Instructional Technician Gregory Cuddihee show students how to use steam-bending techniques.

Fox Fridays: Potterbot Workshop Assistant professor Kelley Van Dyck Murphy leads a ceramics class using a 3D pinter

Graduate Programs Master of Architecture Master of Science in Architectural Studies Master of Science in Advanced Architectural Design WashU Approach

Master of Landscape Architecture Master of Urban Design Doctor of Sustainable Urbanism

Mónica Rivera Professor of Practice Chair, Graduate Architecture Programs MArch, MSAAD, MSAS

Mónica Rivera is co-director and co-founder of Emiliano López Mónica Rivera Arquitectos together with her partner, Emiliano López, in Barcelona, Spain. Their practice is internationally known for material research and carefully crafted works that understand architecture as a cultural endeavor that is deeply engaged with people and the environment. Working with circumstance and contingencies as positive values, their completed work encompasses multiple scales, from social housing to houses, schools to hotels, furniture, assisted residences, and urban consultancies. Rivera and Lopez’s work has received numerous international awards. Two Cork Houses—using mass-timber structure and cork cladding—and Hotel Aire de Bardenas received first awards in the Spanish Biennial of Architecture and Urbanism (2018 and 2008 respectively). The former also received the Best Architects 19 prize (Germany) and the Egurtek Wood Award (Spain) and the latter received an Ibero-American Biennial of Architecture & Urbanism first award and an AR Emerging Architecture Award (UK), among many others. The project Social Housing for Young People in Barcelona received the prestigious FAD Award, given annually to one building in Spain and Portugal, as well as a nomination for the biannual Mies van der Rohe Prize for Contemporary Architecture. Among their ongoing and recent projects is a nearly zero-energy, intergenerational social housing building in Mallorca, Spain—a commission won through a competition— and a passive energy house using crosslaminated timber, near Guernica, Spain. WashU Approach

Their work has appeared in El Croquis, Detail, Casabella, A+U Japan, Domus, Quaderns, Arquitectura Viva, Dwell, Monocle, and The Architectural Review, among others. Their projects have been exhibited at the Cité de l’Architecture et du Patrimoine in Paris (2009), the Venice Architecture Biennale (2012), and the Spanish Architecture and Urbanism Biennial Awards traveling exhibition in Madrid, Paris, and New York (2018–19). A book featuring their work and essays, Domestic Thresholds, was published by Quart Verlag (Switzerland, 2017) in Spanish, English, and German. Rivera has combined teaching with practice since 2000. Recent research focuses on constructing places that mediate situations, latent uses, and climate. Through collective housing studios, her students explore the climatic, tectonic, cultural, and social dimensions of architectural openings—and the sense of safety they afford. Rivera holds a Bachelor of Fine Arts and a Bachelor of Architecture from Rhode Island School of Design, and a postprofessional Master of Architecture degree with distinction from the Harvard University Graduate School of Design. Images of projects by Emiliano López Mónica Rivera Arquitectos. Top left: Inferniño Tourist Apartments, Top right and bottom: Passive House in Arteaga.

Graduate Programs

Master of Architecture Mónica Rivera Professor of Practice Chair, Graduate Architecture Programs

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Architecture is more than an addition to our built environment—it is a translation of aspirations into space. As part of a metabolic system, buildings are responsive to the environment surrounding them and speak to the poetics of human endeavors, contributing to cultural and social enterprises. Graduate students learn to create places that are beautiful to inhabit and poised to contribute to society’s higher ambitions by designing responsibly in consideration of the environment, technology, and people. We draw from our long history to advance pioneering research in housing, fabrication, sustainability, and socially engaged practice. In our practice-oriented program, we believe in craft, in risk, and in delivering sophisticated strategies that push architectural ideas and abilities to the edge. Student projects reflect the complexity of contemporary concerns, working at the confluence of environmental and social issues.

Professional Degree Programs Our Master of Architecture programs offer an accredited first-professional degree to students with either an undergraduate degree in architectural studies or other disciplines. They are STEM-designated and may combine with study in other divisions of the University.

Core Studios The three semester-long core studios—317, 318, and 419—establish ways of questioning the world and begin the transformational process of becoming an architect. Core studios provide a space where students learn about themselves and discover new modes of problem solving and methods of inquiry; they begin to engage what we call design thinking. In core studios, students experience architecture as a critical discipline and learn that the discourse of architecture happens through a process of making.

MArch 3 105 Credits / Six Semesters This curriculum is for students holding baccalaureate degrees with majors in architecture and majors other than architecture. The program begins in the second week of August with a 3-credit, 3-week intensive preparatory design course and orientation. It continues with a series of three core design studios before students progress into the advanced architectural design studio sequence, concluding with a comprehensive Degree Project. MArch 2 75 Credits / Four Semesters Students are considered for this advanced placement curriculum based on design portfolio evaluation and the extent of their undergraduate architectural studies. Placement is highly selective. The MArch 2 sequence begins with the core studio in housing (419) before students progress into the options studio sequence, concluding with the Degree Project.

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317: Assemblies & Ecology The three-semester core sequence in the MArch 3 program begins with the 317 Studio, where students focus on the material, poetic, and useful dimensions of objects and spaces through a tectonic understanding of assemblies as part of broader ecological and social systems and the natural forces that act upon them. Through iterative processes, students acquire core skills making by hand and translating analog explorations into digital media. 318: Building & Environment In the second semester of the MArch 3 program core sequence, the 318 Studio, students tackle the urban context with a cultural or civic program through a design process addressing multiple scales. The studio focuses on the relationship between concept, program, and place by making collective and public spaces with a particular focus on sectional space in relation to program, energy, and topography.

419: International Housing Studio The third core studio of the MArch 3 program and the first studio of the MArch 2 program. Students deepen their understanding and responsiveness to cultural, climatic, and social conditions and develop proposals for collective urban dwellings in a diverse array of global locations, working with faculty who are active practitioners. Within a common framework and shared group discussions, students explore contemporary issues around housing with an emphasis on spatial and organizational arrangements that mediate climate passively and celebrate the benefits of sharing. Advanced Architectural Design Options Studios A wide variety of studios are offered in the upper-level sequence, examining diverse conditions, sites, and technologies both globally and locally. Students are given a choice of Options Studios in order to advance their particular interests in architecture.

M.Arch 3 preparatory design course and orientation

Master of Architecture

Degree Project After working for a semester in a preparatory Design Thinking seminar, students author a Degree Project in their final semester. They are charged not simply to create an advanced, comprehensive work of architecture, but to establish the unique intellectual space in which to work as an architect. This semester serves as a simulacrum of design in the world of practice.

Dual Degree Programs with MArch If students have multifaceted interests within the field, they are encouraged to pursue a dual degree to broaden their education at the graduate and postprofessional levels.

MArch + MLA Master of Architecture + Master of Landscape Architecture Students engaged in this dual degree program will significantly expand their general design culture by interweaving courses in landscape and architecture; understanding design as a systemic enterprise; and acquiring the skills to operate across disciplines and scales.

Students can earn a dual master’s degree from the Graduate School of Architecture & Urban Design faster than completing the two degrees separately. MArch + MUD Master of Architecture + Master of Urban Design This dual degree program prepares architects to be cognizant of the larger urban context of architectural practice and to extend their expertise into another discipline. Students entering the MArch/MUD program complete a substantial portion of the design studios for the MArch program prior to completing the MUD studios, which are then followed by the MArch Degree Project. Other course requirements in urban design are typically spread out over the entire study period. The length of study is dependent upon the MArch program in which the student is enrolled, but typically adds an additional semester and summer to the student’s curriculum.

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Students must be admitted to both the MArch and MLA programs in order to pursue this dual degree. The length of study is dependent upon the MArch and MLA programs in which the student is enrolled.

Joint Degree Programs with MArch We offer several joint master’s degree programs in conjunction with other divisions of Washington University. MArch + MBA Master of Architecture + Master of Business Administration Offered in conjunction with WashU’s Olin Business School, this joint degree program prepares architects to be both thoughtful designers and effective managers and developers. Career opportunities that stem from these joint degree arrangements are in the architecture, business, and development professions; community development and planning; housing development; and public policy. MArch + MCM Master of Architecture + Master of Construction Management Offered in conjunction with WashU’s McKelvey School of Engineering, this joint degree program prepares architectural students for diverse roles within today’s multidisciplinary design/construction process. This special program allows students to earn the two degrees in considerably less time than needed to earn the degrees separately. The program prepares architectural students for the diverse roles within today’s multidisciplinary design and construction process. From their first course and throughout the program, students learn theories combined with real-world applications, strengthening their management acumen, collaborative problem solving, interpersonal communication, and leadership competencies. Master of Architecture

MArch + MPH Master of Architecture + Public Health This unique joint degree opportunity offered in conjunction with WashU’s Brown School of Social Work is designed to create a partnership between the disciplines of architecture and public health, in order to educate and prepare graduate students to better understand the built environment through a public health lens. Similar in mission, both architecture and public health professionals strive to be responsive to the needs and societal changes impacting the communities, institutions, and individuals seeking their expertise. MArch + MSW Master of Architecture + Master of Social Work Offered in conjunction with the Brown School, this unique joint degree program has a long tradition at Washington University, linking the concerns of physical design with social welfare and practice. The intent is to educate and prepare architects and urban designers to understand the built and urban environment through the lens of social work values and to be responsive to the emotional, social, and physical needs of individuals, families, and communities.

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Master of Architecture

Master of Science in Advanced Architectural Design (MSAAD) Mónica Rivera Professor of Practice Chair, Graduate Architecture Programs Robert McCarter Ruth & Norman Moore Professor in Architecture MSAAD Academic Advisor

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This 36-credit, three-semester, post-professional program welcomes individuals with an accredited U.S. professional architecture degree or international equivalent to pursue advanced design studies. The curriculum is highly flexible and individualized. Students take 18 credits of design studios and 18 credits of seminars, directed research, and independent studies within the Sam Fox School’s College of Architecture and College of Art and other graduate programs across the University, allowing them to construct a broad foundation for their design studies. The program will include an Advanced Architectural Design Options Studio each semester, which is offered by our local and visiting faculty. Students are also eligible to apply to our Barcelona Spring Semester Study Abroad Program, where a prominent local practitioner teaches a comprehensive advanced architectural design studio. Students enrolled in the MSAAD degree can also opt to pursue our research-based and non-professional Master of Science in Architectural Studies (MSAS) degree. The MSAS degree currently offers concentrations in two areas: History and Culture or Architectural Pedagogy. By combining the two degrees, students can count up to 15 credits toward both degrees, saving them one semester of study. The program’s main academic advisor is Robert McCarter, the Ruth & Norman Moore Professor in Architecture.

Master of Science in Architectural Studies (MSAS) Mónica Rivera Professor of Practice Chair, Graduate Architecture Programs Robert McCarter Ruth & Norman Moore Professor in Architecture MSAS Academic Advisor, Architectural Pedagogy Concentration Eric Mumford, PhD Rebecca and John Voyles Professor of Architecture MSAS Academic Advisor, History and Culture of Architecture Concentration

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The Master of Science in Architectural Studies (MSAS) degree provides students the opportunity to engage in research in architectural studies beyond what is possible within a professional architecture degree program. The 30-credit, two-semester, non-professional MSAS program is open to students who hold a graduate or undergraduate degree in architecture. It is also open to students already enrolled in our Master of Architecture programs, where 15 credits can be double counted, adding one semester to their studies. Additionally, students can combine the MSAS degree with our post-professional, design studio-based Master of Science in Advanced Architectural Design (MSAAD) degree. Academic advisors help each student craft a unique curriculum that builds toward individual research goals, ultimately culminating in a thesis project. Two concentrations are currently available: History and Culture and Architectural Pedagogy. Students take 12 credits of required courses, including a research methods seminar, and 21 credits of seminars, directed research, and independent studies within the Sam Fox School’s College of Architecture and College of Art and other graduate programs across the University, allowing them to construct a broad foundation for their research. The 6-credit thesis allows students to conduct research on a wide variety of topics in architectural studies and prepares them to pursue doctoral studies or teaching.

Non-Professional Research Degrees MSAS - History and Culture 30 Credits / Two Semesters The Master of Science in Architectural Studies (MSAS) History and Culture concentration is centered on the study of the architecture and urbanism of the past two centuries in its many global and environmental contexts. Its goal is to advance substantial archival and fieldbased research, as well as critical and theoretical reflection within the disciplines of architectural, urban, and art history. The main academic advisor for the History and Culture concentration is Eric Mumford, PhD, the Rebecca and John Voyles Professor of Architecture.

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MSAS - Architectural Pedagogy 30 Credits / Two Semesters The Master of Science in Architectural Studies (MSAS) Architectural Pedagogy concentration aims to cultivate future leaders in the field of architectural education. It focuses on the critical study of both the theoretical and practical aspects of architectural design education. Students have opportunities to participate in mentored teaching and research and contribute to the archives of architectural pedagogy by exploring curricula and pedagogical methods in architectural education. The main academic advisor for the Architectural Pedagogy concentration is Robert McCarter, the Ruth & Norman Moore Professor in Architecture.

MSAS

Master of Landscape Architecture Derek Hoeferlin Associate Professor Chair, Landscape Architecture and Urban Design

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The Master of Landscape Architecture program is built around a combination of studios and seminars that address the following primary concerns: professional and disciplinary advancement, water-based and riverine adaptations, urban and ecological networks, environmental and social justice, climate change and extreme weather, and community engagement. Our program seizes on its location in St. Louis and the Midwest—the center of the fourth-largest watershed in the world. Working at the confluence of four great rivers—Mississippi, Missouri, Illinois, and Ohio— we are poised to develop groundbreaking adaptive design strategies that transform contemporary and complex regional, national, and international dilemmas into future resilient landscapes. Our pedagogy and research efforts are pragmatic, with an experimental and interdisciplinary approach. Students are equipped with emerging methodologies to immediately engage 21st-century landscape architecture practices that address rapidly changing ecological, technological, and social dynamics. Students can earn a Master of Landscape Architecture in combination with degrees in architecture or urban design, while collaborating with partners across the University in art and design, environmental studies, the humanities, public health, and engineering, among others. While deeply committed to working in the St. Louis region, our students also engage in national and international research and projects. Students have access to research opportunities with faculty and to other locally based, world-class resources, such as the Missouri Botanical Garden and Shaw Nature Reserve; St. Louis’ 108 city parks, including Forest Park, Fairground Park, and Tower Grove Park; the field stations at Dunn Ranch Prairie and the University’s Tyson Research Center; and numerous community organizations with whom we partner on projects and research initiatives. Through intensive engagement with place, students study issues not only related to land and water, but also those that power social and cultural networks. Now more than ever, we must face the most complex challenges of our time with rigorous modes of discovery and engagement. Our program is committed to this endeavor. We welcome global citizens to join us in cultivating resilient cultural and social practices through responsive and responsible design.

Derek Hoeferlin Associate Professor Chair, Landscape Architecture and Urban Design

Derek Hoeferlin, AIA, affiliate ASLA, is principal of [dhd] derek hoeferlin design, an award-winning architecture, landscape, and urban design practice based in St. Louis. He teaches undergraduate- and graduatelevel multidisciplinary approaches to architecture, landscape, infrastructure, and urbanism, and for such was awarded a Sam Fox School Outstanding Teaching Award, along with teaching recognitions from AIA, ASLA, CELA, and ACSA. He collaboratively researches integrated water-based design strategies across the Mississippi, Mekong, and Rhine river basins through his designresearch project Way Beyond Bigness: The Need for a Watershed Architecture, which is the focus of his forthcoming book (Applied Research + Design Publishers). Hoeferlin was co-principal investigator on the collaborative design research projects MISI-ZIIBI: Living with the Great Rivers: Climate Adaptation Strategies in the Midwest River Basins (2013–2016, with John Hoal and Dale Morris) and Gutter to Gulf: Legible Water Infrastructure for New Orleans (2008–2012, with Jane Wolff and Elise Shelley). Hoeferlin lectures on his work internationally, and his designs, photography, teachings, and writings have been published widely, including chapters in Chasing the City (2018, Routledge) and New Orleans Under Reconstruction (2014, VERSO); contributions in Designing Suburban Futures (2013, Island Press), Metropolis and ‘scape magazines, Journal of Architectural Education, Scenario Journal, The Anthropocene Review, and Archinect; as well as multiple ACSA conference papers, among other WashU Approach

peer-reviewed journals and venues. He was a University Design Research Fellow for Exhibit Columbus (2021). Hoeferlin has led award-winning projects and jury-recognized competitions, including first prize in the Designing Resilience International Open Competition (2017) and the American Institute of Architects Award for Weathering St(ee)L House (2021), as well as multiple awards with TLS Landscape Architecture and OBJECT TERRITORIES for the Chouteau Greenway Competition in St. Louis (one of four finalists, 2018), including an American Society of Landscape Architects National Honor Award (2019). With colleague Ian Caine, he received first prize for the Rising Tides Competition (2009), honorable mention for the Dry Futures Competition (2016), and was a finalist for Build a Better Burb Competition (2010). Additionally, Hoeferlin has contributed core design roles in complex multidisciplinary projects in south Louisiana, including Changing Course: Navigating the Future of the Lower Mississippi River Delta Competition with STUDIO MISI-ZIIBI (one of three winners, 2015), the Greater New Orleans Urban Water Plan with Waggonner & Ball (American Planning Association National Planning Excellence Award, 2012), and the Unified New Orleans Plan for post-Hurricane Katrina recovery and rebuilding with H3 Studio, Inc. (2007). Hoeferlin holds BArch and MArch degrees from Tulane University and a post-professional MArch degree from Yale University, graduating both institutions with multiple honors.

Master of Landscape Architecture

Professional Degree Programs All our MLA programs are STEM-designated. Graduates earn an accredited professional degree in landscape architecture, allowing them to become registered landscape architects. MLA 3 90 Credits / Six Semesters This three-year program provides opportunities for study abroad and internships in the summer. Students with no prior experience in design are eligible to enroll in the program and graduate with a degree that enables them to enter the profession of landscape architecture and become registered professionals. MLA 2 60 Credits / Four Semesters Students who have a prior degree in landscape architecture are eligible for this accelerated track. This is typically a twoyear course of study that provides flexibility for students whose undergraduate studies have prepared them in different ways for graduate study in landscape architecture. Core Studios 401: Studio I In the first core studio of the MLA 3 program, students are introduced to landscape architectural design focusing on conceptual, theoretical, and tectonic operations in St. Louis. 402: Studio II In the second core studio of the MLA 3 program, areas of focus include spatial understanding, ground plane manipulation, and vegetation and material strategies WashU Approach

along an urban context and St. Louis neighborhood. 501: Studio III In the third core studio of the MLA 3 program and the first studio of the MLA 2 program, students are introduced to larger-scale systems, focusing on site re-reclamation strategies rooted in ecological, social, infrastructural, and cultural issues, culminating in the generation of multi-scale design propositions, with particular focus on watershed-based design strategies. 502: Studio IV In the fourth core studio of the MLA 3 program and the second core studio of the MLA 2 program, students are challenged to recalibrate large-scale site systems to balance inherent resources with development by means of innovative programming at the site scale in complex local and regional contexts. 601: Studio V In the fifth core studio of the MLA 3 program and the third core studio of the MLA 2 program, students engage various aspects of the professional practice of landscape architecture, collaborating with multiple voices in the discipline to better transform previously mismanaged sites into futureforward resilient landscapes. 602: Studio VI The final semester ranges in scale and scope from experimental speculations to pragmatic proposals, with the goal that student develop their own positions before entering the discipline of landscape architecture.

Dual Degree Programs MLA + MArch Master of Landscape Architecture + Master of Architecture Students engaged in this dual degree program will significantly expand their general design culture by interweaving courses in landscape and architecture; understanding design as a systemic enterprise; and acquiring the skills to operate across disciplines and scales. Students must be admitted to both the MArch and MLA programs in order to pursue this dual degree. The length of study is dependent upon the MArch and MLA programs in which the student is enrolled. MLA + MUD Master of Landscape Architecture + Master of Urban Design Students must be admitted to both the three-year MLA program and the MUD program in order to pursue this dual degree. The length of study is dependent upon the MLA program in which the student is enrolled. Typically, students with no prior design degree will need three-and-a-half years to complete the MLA/MUD dual degree. Students in the MLA 2 program will typically need three years to complete the MLA/MUD dual degree.

Master of Landscape Architecture

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Master of Landscape Architecture

Master of Urban Design Derek Hoeferlin Associate Professor Chair, Landscape Architecture and Urban Design

WashU Approach

Urbanization is an increasing and constantly changing condition of contemporary society. This presents enormous opportunities for—and challenges to—the creation of resilient, livable, and healthy urban habitats. Cities are the largest consumers and producers of global resources and our greatest agents of social change. Through the design of our cities, we address the potential of the urban world. At the Sam Fox School, students focus on how to transform cities for the 21st century as active and informed participants. Our innovative structure allows students to pursue advanced design and research while developing a rigorous theoretical and professional foundation. Studios integrate concepts of architecture, landscape architecture, and infrastructural and ecological urbanism. They are research-oriented, yet speculative and exploratory. Founded by Fumihiko Maki and Roger Montgomery in 1961, our program provides students with opportunities for experiential immersion learning— the best form of education for an urban designer. Work is deeply engaged with place—in St. Louis, throughout the United States, and abroad. Locally, students collaborate with agencies and communities on real initiatives to create more equitable and environmentally conscientious strategies, systems, and cities. Internationally, they travel to select major metropolitan cities in North America, Europe, South America, Africa, and Asia, working with Washington University faculty and renowned, local practitioners in intense, mega-growth developments to address evolving urbanization across the globe. Through this hands-on experience, students obtain a great appreciation for a range of cities and different approaches to the making of cities. Urban design takes an expansive view of the built environment. It unifies the social, political, economic, and environmental forces in our cities. Students who graduate our program are prepared for global leadership in the development of humane cities for a more sustainable world. The Master of Urban Design degree can be combined with study in other divisions at Washington University, including architecture, landscape architecture, public health, and social work.

Post-Professional Degree Program MUD 42 Credits / Two Semesters + Summer The MUD program is centered on a core sequence of three studios and seminars through which students develop the skills to make design proposals for a diverse range of urban conditions within the contemporary metropolitan landscape. Urban design is approached through a full range of scales: from the mega region to the district, from the district to the street, and ultimately, to the design of the public realm as the place of lively and vibrant community life. Studio Sequence 711: Elements of Urban Design Studio Fall This studio explores contemporary, postindustrial metropolitan conditions in and around the Midwest and St. Louis region. Students focus on infrastructural urbanism at the regional scale and the natural and built systems of the postindustrial urban landscape. Issues of equity and access are critical. Students may travel to U.S. cities such as Baltimore, Detroit, Kansas City, New Orleans, and Pittsburgh. 713: Metropolitan Design Elements Studio Spring This studio engages the scale of the district and the design of public space, more fully considering the public policy, cultural, economic, and real estate conditions of cities. It involves travel to large North American cities, such as Chicago, Dallas, Los Angeles, Toronto, and Washington, D.C., plus a spring break Lively Cities public WashU Approach

life workshop in a major global city (past destinations include Copenhagen, London, and Rotterdam). 714: Global Urbanism Studio Summer This is an immersive, summer-long experience, typically based in global cities marked by an active cultural scene, but with a complex, challenging urban fabric. Past studio locations include Accra, Cape Town, Dubai, Hong Kong, Johannesburg, Kampala, Mexico City, Shanghai, Singapore, and Tokyo. Due to COVID-19, the 2021 Global Urbanism Studio was re-conceptualized to run completely remotely. Led by MUD faculty Jonathan Stitelman, it connected remotely with Doreen Adengo in Kampala, Uganda, and Patrick Gmür in Zurich, Switzerland, as a comparative study and design of public markets in the two respective cities. Students have the opportunity to establish areas of concentration through three urban design electives in related areas within the Graduate School of Architecture & Urban Design, as well as through the schools of Law, Business, Engineering, and Social Work (which includes the Institute for Public Health). With faculty approval, students can craft an individualized experience according to their interests and needs through the combination of electives.

Joint and Dual Degree Programs MUD + MArch (Dual Degree) Master of Urban Design + Master of Architecture This dual degree program prepares architects to be cognizant of the larger urban context of architectural practice and to extend their expertise into another discipline. Students complete a substantial portion of the design studios for the MArch program prior to completing the MUD studios, which are then followed by the MArch Degree Project. Other course requirements in urban design are typically spread out over the entire study period. The length of study is dependent upon the MArch program in which the student is enrolled, but typically adds an additional semester and summer to the student’s curriculum.

Fall 2021 Informal Cities workshop, titled Informal Cities at Hand: Designing Justice Near and Far, led by Chelina Odbert, co-founder adn executive director of Kounkuey Design Initiative.

Master of Urban Design

MUD + MLA (Dual Degree) Master of Urban Design + Master of Landscape Architecture Students must be admitted to both the three-year MLA program and the MUD program in order to pursue this dual degree. The length of study is dependent upon the MLA program in which the student is enrolled. Typically, students with no prior design degree will need three-and-a-half years to complete the MLA/MUD dual degree. Students in the MLA 2 program will typically need three years to complete the MLA/MUD dual degree. MUD + MSW (Joint Degree) Master of Urban Design + Master of Social Work

Students in the Global Urbanism Studio collaborated with architecture students from Uganda Martyrs University to study informal markets.

WashU Approach

Master of Urban Design

Doctor of Sustainable Urbanism Ian Trivers Visiting Assistant Professor

WashU Approach

The Doctor of Sustainable Urbanism is the first degree of its kind in the United States. Launched in 2015, this applied research degree is designed for urbanists, planners, architects, and landscape architects. Our specialized program prepares students for leadership roles in sustainability at policy institutes, universities, design and research centers, nonprofits, and in the private sector. Doctoral students work closely with a faculty advisor to develop a detailed course of research that takes advantage of Washington University’s vast resources, including a broad range of interdisciplinary courses, research institutes, and faculty across engineering, public health, and the humanities and sciences. A worldwide network of collaborative partners establishes a resource base deep in expertise and global in scope. Advanced candidates are also able to pursue teaching and research assistantships within our program in St. Louis and our international studios. Students research new ways cities can be more economically productive and socially just. Utilizing evidence-based methods and applied knowledge, this research helps make urban centers healthier by finding ways to implement high-performing, natural systems that are less dependent on scarce, nonrenewable resources. Most importantly, graduate students learn ways to engage citizens in creative problem solving and cooperative action to achieve a more adaptive and resilient society. Our graduates build the pathways to move us toward greater equity and stewardship of the urban environment. The Doctor of Sustainable Urbanism program consists of two years of advanced coursework in history, theory, and research methods relevant to sustainable urbanism discourse and practice. Each semester, students select electives from advanced courses across the Sam Fox School and Washington University at large to expand their knowledge base in specific fields of study that complement their research. Field work and a dissertation are required for completion of the degree.

Lectures & Events SU20—SP22

WashU Approach

2020

July 27 James Davidson, Sam Bowstead, Britt Hill, and Leonore Gausachs James Davidson Architects, Woolloongabba, Australia Part of the Global Urbanism Studio

June 1 Doreen Adengo Principal, Adengo Architecture, Kampala, Uganda Part of the Global Urbanism Studio

August 3 Elisa Kim Leader, Atlas of the Sea; assistant professor, Smith College Part of the Global Urbanism Studio

June 22 Marcus Carter and Michael Kokora Founding partners, OBJECT TERRITORIES, New York and Hong Hong Part of the Global Urbanism Studio July 6 Patrick Gmür Partner, Steib Gmür Geschwentner Kyburz Architekten & Stadtplaner, Zurich, Switzerland; former head of town planning for Zurich, Switzerland Part of the Global Urbanism Studio July 13 Lola Sheppard and Mason White Partners, LATERAL OFFICE, Toronto, Canada Part of the Global Urbanism Studio June 19 The Lively Cities Panel Discussion Featuring L. Irene Compadre, Louise Grassov, Jamie Kolker, Jenny Roe, and Linda C. Samuels Part of The Lively Cities workshop led by Oliver Schulze and Mohammed Almahmood

September 26 Walter J. Hood “Hybrid Landscapes” Principal, Hood Design Studio, Oakland, California; professor of architecture, University of California, Berkeley Harris Armstrong Fund Lecture Co-sponsored by the Kemper Art Museum, the Sam Fox School’s Landscape Architecture program, and the Office of the Executive Vice Chancellor for Civic Affairs and Strategic Planning September 30 Discussions in Architectural History and Theory: Architectural History and Academia Featuring Barry Bergdoll (Columbia University), Beatriz Colomina (Princeton University), Arindam Dutta (Massachusetts Institute of Technology), and Joan Ockman (University of Pennsylvania)

July 20 Felipe Correa Founder and managing partner, Somatic October 12 Collaborative, New York; chair of architecture, Margarita Jover University of Virginia Cofounder, aldayjover arquitectura y Part of the Global Urbanism Studio paisaje, Barcelona, Spain; associate professor in architecture, Tulane School of July 24 Architecture Thom Mayne “Cities and Rivers” Founder, Morphosis Architects, Los Angeles Abend Family Visiting Critic Endowed Lecture and New York Part of The Past’s Future studio taught by Associate Professor Chandler Ahrens

October 15 Robert McCarter Ruth and Norman Moore Professor of Architecture, Sam Fox School “The Architecture of Carlo Scarpa: Recomposing Place, Intertwining Time, Transforming Reality” Architecture Faculty Lecture

November 17 Laboratory for Suburbia Seminar Book Launch Featuring student work from the spring 2020 Laboratory for Suburbia seminar led by Lecturer Gavin Kroeber With support from The Divided City initiative

October 16 Laboratory for Suburbia: Sprawl Session 1—White Suburbias Featuring Eric Gottesman, Walter Johnson, Gavin Kroeber, Keith Krumwiede, Sarah Paulsen, Bryony Roberts, Dread Scott, and Lauren Woods With support from a Divided City initiative grant October 26 Deborah Berke Founder, Deborah Berke Partners, New York; dean, Yale School of Architecture AIA St. Louis Scholarship Trust Lecture October 28 Discussions in Architectural History and Theory: Architectural History and Diversity Featuring Luis Esteban Carranza (Roger Williams University), Mario Gooden (Columbia University), Mary McLeod (Columbia University), and Patricia Morton (University of California, Riverside) November 7 Constance Vale and Shantel Blakely Assistant professors of architecture, Sam Fox School Part of the Kemper Art Museum’s In Conversation series, in conjunction with the Teaching Gallery exhibition The Autonomous Future of Mobility, curated by Vale

November 19 Ersela Kripa and Stephen Mueller Partners, AGENCY; assistant professors, College of Architecture, Texas Tech University Nation Space Lecture Series, coordinated with the Borders, Boundaries, Nations graduate seminar taught by senior lecturer Michael Allen December 2 Katja Perat Doctoral candidate in comparative literature, Arts & Sciences, Washington University in St. Louis Nation Space Lecture Series, coordinated with the Borders, Boundaries, Nations graduate seminar taught by Senior Lecturer Michael Allen December 3 Eric Mumford Rebecca and John Voyles Professor of Architecture, Sam Fox School “Josep Lluís Sert: The Architect of Urban Design” Architecture Faculty Lecture December 7 Shantel Blakely Assistant professor, Sam Fox School “Zanuso vs. Mangiarotti: The Soul of a Joint” Architecture Faculty Lecture

November 16 Robert Kahn Architect and educator “The Architecture of James Stirling” Architecture Lecture WashU Approach

2021 January 30 “African American Architecture in St. Louis: The Case for Charles Fleming” Panel discussion featuring architect Charles E. Fleming in conversation with Shantel Blakely (assistant professor, Sam Fox School), Eric Mumford (Rebecca and John Voyles Professor, Sam Fox School), and Michael Willis (visiting professor, Sam Fox School) Part of the Kemper Art Museum’s In Conversation series, in collaboration with the College of Architecture February 10 Discussions in Architectural History and Theory: Architectural History and Conservation Featuring Daniel M. Abramson (Boston University), Fallon Aidoo (University of New Orleans), Maristella Casciato (Getty Research Institute), and Michelangelo Sabatino (Illinois Institute of Technology) February 22 Edward R. Ford Architect and author; Fay Jones Visiting Professor, University of Arkansas “Outside the Frame: Carlo Scarpa and Sverre Fehn” Architecture Lecture February 24 Alex Krieger Principal, NBBJ Design, Boston; professor of urban design, Harvard Graduate School of Design “Designing the American City: Aspirations and Urban Form” Master of Urban Design Lecture March 1 Zeuler Lima Associate professor, Sam Fox School “Lina Bo Bardi Draws: Pictures at an Exhibition” Architecture Faculty Lecture Events SU20-SP22

March 4 Amanda Williams and Assemble (Giles Smith) Eugene J. Mackey Jr. Lecture March 9 Conversation: Environmental Racism and the Arts Discussion featuring artist-in-residence Jordan J. Weber, a Des Moines-based multidisciplinary artist; Michael Allen, senior lecturer in architecture, landscape architecture, and urban design, Sam Fox School; Inez Bordeaux, organizer, Close the Workhouse and manager of community collaborations, ArchCity Defenders; and Geoff K. Ward, professor of African and African-American studies, Arts & Sciences Presented in partnership with the Sam Fox School; WashU’s Center for the Study of Race, Ethnicity, and Equity (CRE2); and the Pulitzer Arts Foundation Supported through the generosity of an endowment created by Emily Rauh Pulitzer to support collaboration between the Pulitzer and the Sam Fox School March 10 Discussions in Architectural History and Theory: Architectural History as a Global Discipline Featuring Zeynep Çelik Alexander (Columbia University), Kathleen JamesChakraborty (University College Dublin), Mark Jarzombek (Massachusetts Institute of Technology), and Tao Zhu (University of Hong Kong) March 23 Nina Chase and Chris Merritt Founding principles, Merritt Chase, Pittsburgh & Indianapolis Landscape Processes Discussion Series, coordinated with the Landscape Technology and Landscape elective courses taught by Lecturer Alexandra Mei

March 30 Alexa Vaughn-Brainard Landscape designer, OLIN, Los Angeles Landscape Processes Discussion Series, coordinated with the Landscape Technology and Landscape elective courses taught by lecturer Alexandra Mei April 8 Toni L. Griffin Professor in Practice of Urban Planning, Harvard Graduate School of Design; founder, Urban Planning and Design for the American City Coral Courts Lecture April 14 Jill Desimini Associate professor of landscape architecture, Harvard Graduate School of Design “Cyclical City: Stories of Urban Transformation” Master of Landscape Architecture Lecture, coordinated with the seminar Vacant/Wild/ Ruined: Feral Urbanism, taught by Senior Lecturer Michael Allen April 15 Cid Blanco Jr. Architect and urban planner “Cyclical City: Stories of Urban Transformation” Master of Urban Design Lecture, coordinated with the seminar Metropolitan Sustainability, taught by Lecturer Matthew Bernstine April 19 Charles A. Birnbaum President, CEO, and founder, The Cultural Landscape Foundation, Washington, D.C. The Historic Preservation Lecture (inaugural) April 20 Niall Kirkwood Professor of landscape architecture and technology and academic dean, Harvard WashU Approach

Graduate School of Design Landscape Processes Discussion Series, coordinated with the Landscape Technology and Landscape elective courses taught by Lecturer Alexandra Mei April 26 Igor Marjanović and Katerina Rüedi Ray JoAnne Stolaroff Cotsen Professor and chair of undergraduate architecture, Sam Fox School; professor of art history, School of Art, Bowling Green State University “Marina City” Architecture Faculty Lecture April 27 Kotchakorn Voraakhom CEO and founder of Landprocess and Porous City Network, Bangkok, Thailand Landscape Processes Discussion Series, coordinated with the Landscape Technology and Landscape elective courses taught by Lecturer Alexandra Mei April 28 Pamela Conrad Principal, CMG Landscape Architecture, San Francisco; founder, Climate Positive Design Landscape Processes Discussion Series, coordinated with the Landscape Technology and Landscape elective courses taught by Lecturer Alexandra Mei June 29 Laboratory for Suburbia: Sprawl Session 2—Black Suburban Imaginaries Featuring Davion Alston, Germane Barnes, Mira Henry, Autumn Knight, Matthew D. Lassiter, Jodi Rios, and lauren woods With support from a Divided City initiative grant September 20 Mute Icons & Other Dichotomies of the Real in Architecture Panel discussion with Marcelo Spina, founder, P-A-T-T-E-R-N-S; Constance Vale, chair of

November 04 Ken Tadashi Oshima Professor, University of Washington “ARCHItextures of Japan beyond Japan”

undergraduate architecture, Sam Fox School; and Robert McCarter, Ruth & Norman Moore Professor of Architecture, Sam Fox School September 27 Memorial to Enslaved Laborers at UVA Featuring Eric Höweler and J. Meejin Yoon, co-principals of Höweler + Yoon Architecture; Mabel O. Wilson, cultural historian and designer, Studio &; Frank Dukes, mediator and facilitator, Institute for Engagement & Negotiation at UVA; Gregg Bleam, principal, Gregg Bleam Landscape Architect; and Eto Otitigbe, artist Fumihiko Maki Lecture

November 12 Chelina Odbert Co-founder and Executive Director, Kounkuey Design Initiative Informal Cities Workshop Kickoff Lecture, titled “Informal Cities at Hand: Designing Justice Near and Far”

October 21 Kenneth Frampton Ware Professor, Columbia University Graduate School of Architecture, Planning, and Preservation Eugene J. Mackey Jr. Lecture, titled “Mendes da Rocha and the Space of Appearance” October 22 Designing the Modern City: Urbanism Since 1850 Panel discussion featuring Robert McCarter, Ruth & Norman Moore Professor of Architecture; Kenneth Frampton, Ware Professor of Architecture, Columbia University GSAPP; Igor Marjanović, William Ward Watkin Dean and Professor, Rice Architecture; and Jennifer Yoos, FAIA, LEED AP, principal and CEO, VJAA

2022 February 3 Roger Tudó Founding Partner, HARQUITECTES The Historic Preservation Lecture February 4 Yasmin Vobis, RA, NCARB Co-principal, Ultramoderne Laskey Charrette Kickoff Lecture, titled “A Hat is a House”

October 25 Asian American Architects: The Absence of History and the WashU Connection Featuring Rod Henmi, MAUD ‘83, FAIA, NOMA October 26 Carlos Jiménez Principal and Lead Designer, Carlos Jiménez Studio Ruth & Norman Moore Visiting Professor of Architecture Lecture Events SU20-SP22

November 12-14 Informal Cities Workshop Sponsored and supported by the Sam Fox School, the Center for the Humanities in Arts & Sciences, The Divided City: an Urban Humanities Initiative, and Washington University in St. Louis

February 14 Ignacio Paricio Architect “Pompeu Fabra University Library in the Dipòsit de les Aigües by Lluís Clotet and Ignacio Paricio” Building Visits Lecture Series and Seminar, Barcelona Graduate Architecture Study Abroad Semester Program February 18 Micah Stanek Lecturer, Sam Fox School Master of Landscape Architecture Lecture

February 22 Tatiana Bilbao Founder, Tatiana Bilbao ESTUDIO Anna Schewe & Caroline Schewe Visiting Lecture, presented in collaboration with the On Olive project February 23 Seth Denizen Princeton-Mellon Fellow in Architecture, Urbanism, & the Environment Master of Landscape Architecture Lecture February 25 Jill Desimini Associate Professor, Harvard Graduate School of Design Master of Landscape Architecture Lecture February 25 Dwayne Oyler and Jenny Wu Founders, Oyler Wu Collaborative Fitzgibbon Charrette Kickoff Lecture February 28 Alexandra Mei Associate, Merritt Chase Master of Landscape Architecture Lecture March 2 Oliver Schulze Founding Partner, Schulze+Grassov The Lively City Workshop Kickoff Lecture; part of annual Lively City workshop, titled “The Lively City: 10 Years of Public Realm Design at Schulze+Grassov.” March 04 Akshita Sivakumar University of California San Diego Master of Landscape Architecture Lecture March 4 Marta Peris and José Toral Founders, Peris+Toral Arquitectes “Public Housing in Cornellá” Building Visits Lecture Series and Seminar, WashU Approach

Barcelona Graduate Architecture Study Abroad Semester Program March 21 Ramon Bosch and Bet Capdeferro Founders, bosch.capdeferro arquitectura Ruth & Norman Moore Visiting Professors of Architecture Lecture March 25 Claudi Aguiló Co-founder, DATAAE “ICTA-ICP Research Center by DATAAE and Harquitectes” Building Visits Lecture Series and Seminar, Barcelona Graduate Architecture Study Abroad Semester Program March 28 Wiel Arets Founding Director, Wiel Arets Architects; Professor of Architecture, Illinois Institute of Technology Harris Armstrong Fund Lecture April 1 Eva Prats and Ricardo Flores Founders, Flores i Prats Architects “Sala Beckett” Building Visits Lecture Series, Barcelona Graduate Architecture Study Abroad Semester Program April 6 The Material World of Modern Segregation Panel discussion featuring Jason Purnell, associate professor and director of Health Equity Works, Brown School, Washington University; Heidi Kolk, project co-editor and assistant professor, Sam Fox School; Jasmine Mahmoud, assistant professor, School of Drama, University of Washington-Seattle; Michael R. Allen, senior lecturer, Sam Fox School; Patty Heyda, associate professor, Sam Fox School; and John Early, senior lecturer, Sam Fox School

April 7 Fuensanta Nieto Founding Partner, Nieto Sobejano Arquitectos Coral Courts Lecture April 11 Marina Tabassum Founder, Marina Tabassum Architects AIA St. Louis Scholarship Trust Lecture April 12 Daniel Blum Associate Partner, Itten+Brechbühl AG City Seminar Lecture, co-sponsored by The Divided City initiative April 13 Asian American Architects: The Absence of History and the WashU Connection Featuring Rod Henmi, MAUD ‘83, FAIA, NOMA April 18 Thomas Phifer Founder, Thomas Phifer and Partners CannonDesign Lecture for Excellence in Architecture and Engineering

Events SU20-SP22

Lecture by Ricardo Flores, co-founder of Flores i Prats Architects, on their Sala Beckett project as part of the Building Visits Seminar during the Graduate Architecture Study Abroad Semester Program in Barcelona.

Designing the Modern City: Urbanism Since 1850 Faculty Publication Discussion This faculty publication discussion will center on Designing the Modern City: Urbanism Since 1850, written by Eric P. Mumford, the Rebecca and John Voyles Professor of Architecture. The comprehensive survey traces the global history of urbanism and urban design from the industrial revolution to the present. As part of the event, several invited panelists will share their perspectives on how architects have attempted to shape the form of cities under the ongoing conditions of modernization. Each speaker will focus on how a topic from the book relates to design issues that they have addressed or considered in their practice or considered as historians. Panelists included Kenneth Frampton, Ware Chair of Architecture, Graduate School of Architecture, Planning, and Preservation, Columbia University; Igor Marjanovic, William Ward Watkin Dean and Professor, Rice Architecture; Jennifer Yoos, FAIA, LEED AP, Professor and Head, University of Minnesota School of Architecture; Principal and President, VJAA. Introduction by Heather Woofter, Robert McCarter, the Ruth and Norman Moore Professor of Architecture, WashU Approach

Sam Fox School of Design & Visual Arts, Washington University in St. Louis served as moderator. This event was organized by professor of practice Monica Rivera, chair of graduate architecture, and supported by the Graduate School of Architecture & Urban Design, and the Eugene J. Mackey Jr. Lecture Fund. About the Publication Written with an international perspective that encourages cross-cultural comparisons, leading architectural and urban historian Eric P. Mumford presents a comprehensive survey of urbanism and urban design since the industrial revolution. Beginning in the second half of the 19th century, technical, social, and economic developments set cities and the world’s population on a course of massive expansion. Mumford recounts how key figures in design responded to these changing circumstances with both practicable proposals and theoretical frameworks, ultimately creating what are now mainstream ideas about how urban environments should be designed, as well as creating the field called “urbanism.” He then traces the complex outcomes of

Eric Mumford, PhD Rebecca and John Voyles Professor of Architecture

approaches that emerged in European, American, and Asian cities. This erudite and insightful book addresses the modernization of the traditional city, including mass transit and sanitary sewer systems, building legislation, and model tenement and regional planning approaches. It also examines the urban design concepts of groups such as CIAM (International Congresses of Modern Architecture) and Team 10, and their adherents and critics, including those of the Congress for the New Urbanism, as well as efforts toward ecological urbanism. Highlighting built as well as unbuilt projects, Mumford offers a sweeping guide to the history of designers’ efforts to shape cities.

Master of Architecture Student Work

WashU Approach

317 Architectural Design I: Core Studio Jonathan Stitelman Bruce Lindsey (Coordinator) 318 Architectural Design II: Core Studio Constance Vale 419 International Housing Studio: Core Studio Julie Bauer Melisa Betts Sanders Philip Holden Don Koster Stephen Leet Emiliano López (Coordinator) Mónica Rivera 500–600 Advanced Architectural Design: Options Studios Chandler Ahrens Ramon Bosch Bet Capdeferro Gia Daskalakis Patty Heyda John Hoal Derek Hoeferlin Carlos Jiménez Petra Kempf Zueler Lima Robert McCarter Kelley Van Dyck Murphy Mónica Rivera Linda Samuels Michael Willis Heather Woofter Hongxi Yin

616 Degree Project Chandler Ahrens (Coordinator FA20) Julie Bauer Wyly Brown Sung Ho Kim (Coordinator SP22) Philip Holden (Coordinator SP21) Anna Ives Adrian Luchini (Coordinator FA21) Dennis McGrath Allison Mendez Seminars Chandler Ahrens Melissa Betts Sanders Pablo Moyano Kelley Van Dyck Murphy Jonathan Stitelman Aaron Schump Hans Tursak Constance Vale Jess Vanecek

317

Architectural Design I Core Studio

WashU Approach

Instructors Jonathan Stitelman Bruce Lindsey (Coordinator)

Beginnings are important. They set forth, set up, anticipate, precede, and prefigure things that follow. While a beginning is likely different for those who have been there or done that, in the spirit of beginnings in general and all our respective beginnings, it is possible to conjure a new one that includes all of us regardless of person, place, or circumstance. Sometimes it simply requires a change of mind. It is a difficult thing to do but a rewarding thing to try. In this studio, students focused on the material, poetic, and useful dimensions of objects and spaces through a tectonic understanding of assemblies and the natural forces that act upon them. Assemblies are understood to be part of a broader ecological and social system. Through iterative processes, students acquired core skills through making by hand and translating analog explorations into digital media. This studio, which included students from a variety of backgrounds, was organized around three projects: the design and representation of a walkway on the WashU campus, analysis of industrial buildings depicted in the photographs of Hilla and Bernd Becher, and the design of a community garden and greenhouse in Forest Park. The themes of architectonic assemblies, ecology, and usefulness guided these projects, in which students also developed skills in hand drawing, model making, and digital modeling and fabrication. The studio worked closely with the representation class where students explored ways to represent the dynamics of the environment and their Forest Park site.

Master of Architecture

317 Core Studio

WashU Approach

Jonathan Stitelman Senior Lecturer

FA21

Cody Heller

Flora Conservancy Community Centre

317 Studio

END WINDOWS OPEN INTERC H A N G E A B LY T O A L L O W E - W B R E E Z E T O P E N E T R AT E

W I N D O W S C R E AT E E X T E R I O R CANOPY WHEN RAISED

A U T O M AT I C L O U V R E S ( P E R F O R ATED FOR REDUCED LIGHT - POWD E R C O AT E D W H I T E T O O F F E R R E FLECTED LIGHT ABILITY)

ervancy Community Centre

317 Studio Submission

P E R M E A B L E PAV E R S

H O S E D O W N , W AT E R R U N - O F F D R A I N A G E

Green House Basement Plan

1/4” = 1’

Cody Heller

P E R M E A B L E F L O O R G R AT E T O A L L O W LIGHT INTO BELOW CORRIDOR

Green House Basement Plan

1/4” = 1’

Fall 2021

Master of Architecture

317 Core Studio

WashU Approach

Bruce Lindsey E. Desmond Lee Professor for Community Collaboration

FA21

Cody Heller

Master of Architecture

317 Core Studio

WashU Approach

Jonathan Stitelman Bruce Lindsey

FA21

Emily Yin

Master of Architecture

317 Core Studio

WashU Approach

Jonathan Stitelman Bruce Lindsey

FA21

Emily Yin

Master of Architecture

318

Architectural Design III Core Studio

WashU Approach

Instructors Constance Vale

Accumulating the Archive The indeterminate nature of the word “stuff” makes it seem insignificant. However, as Sylvia Lavin points out in her essay “Architecture in Extremis,”1 stuff—and the built-ins that house it—are central to architecture. The ordering, arraying, and numbering of objects allows stuff to suffuse with a building and compose the perceptible environment. With the world of artifacts, documents, images, and data expanding at an inconceivable rate, this studio considered the means by which architecture can embrace the storage of vast collections of various media, not only as a necessary element of program but also as rich, formal, and conceptual ground. As such, students undertook the design of architecture that performs like furniture, its efforts divided between storing stuff and accommodating bodies. Students conducted research through the design of an archive, museum, and residency for Cummins, Inc. to house materials and data from the corporation’s collection and to support ongoing creative activity. The headquarters, sited in Columbus, Indiana, is a veritable museum of great architectural works funded in part by the Cummins Foundation. The company’s patronage extends across architecture, artworks, automotive designs, and engineering research. The project presented a nested provocation: How does one house a collection within an interior and join an established urban collection within a site? Students approached the production of models as a 1:1 scale architectural problem—not unlike a set of furniture—confronting how to display collections of models and arrange these as a final exhibition. The diorama, a built-in itself, played a significant role as a representational strategy caught between image and object, illusionism and didacticism, realism and the real. While etymologically diorama means “to see through,” it is also a screen—literally in Daguerre’s first iterations—onto which fiction and illusion merge with facts and authority, raising questions about the nature of these categories. Students looked to the same kind of Master of Architecture

318 Core Studio Accumulating the Archive

WashU Approach

SP21

John Buzvbee

productive dichotomies in drawings that create ambiguity between flatness and depth, models that conceal or reveal the thickness of surfaces in the materialization of geometry, and renderings that create tension between realism and reality. Scale was a primary part of the discussion as we reflected on the ability for concepts and forms to slide in and out of different scales as a productive means of development. 1. Sylvia Lavin, “Architecture in Extremis,” Log, no. 22 (2011): 51–61. http://www.jstor.org/ stable/41765708.

Master of Architecture

318 Core Studio Accumulating the Archive

WashU Approach

Constance Vale Assistant Professor

SP21

John Buzbee

Master of Architecture

318 Core Studio Accumulating the Archive

WashU Approach

Constance Vale

SP21

Ann Dang

Master of Architecture

318 Core Studio Accumulating the Archive

WashU Approach

Constance Vale

SP21

Ann Dang

Master of Architecture

318 Core Studio Accumulating the Archive

WashU Approach

Constance Vale

SP21

William Kapp

Master of Architecture

419

International Housing Studio Core Studio

WashU Approach

Instructors FA20 Melisa Betts Sanders Don Koster Stephen Leet Emiliano López (Coordinator) Mónica Rivera

Instructors FA21 Julie Bauer Philip Holden Don Koster Emiliano López (Coordinator) Mónica Rivera

The 419 International Housing Studio aims to deepen students’ understanding of the importance of the climatic, social, and cultural dimensions of a specific city in relation to forms of collective dwelling in an urban setting. Through research and critical analysis, students developed housing proposals that not only engaged with the particularities of each site, but also challenged traditional ways of living in response to evolving family structures and an increasing interest in and need for collaborative living. Throughout the semester, students were exposed to various design approaches and methodologies by rotating through three different critics/ cities. The process of iterative design, along with consistent drawing, model-making, photography, and collage-making exercises were intended to broaden each student’s capabilities as a designer and communicator of the concrete and the abstract, the diagrammatic and the experiential, the bold and the subtle. Each studio critic constructed a unique project framework for their chosen site, large enough to accommodate six to 12 projects of approximately 25 housing units, allowing for the creation of a “neighborhood” from among students’ respective projects. Each project involved five design scales: the internal domestic space, the thresholds between the domestic realm and communal spaces, the aggregation of units, the neighborhood, and the city.

Master of Architecture

Emiliano López Senior Lecturer

419 Core Studio International Housing Studio

Barcelona: La Barceloneta Completed in 1779, La Barceloneta was the first neighborhood built outside the city walls of Barcelona and represents the first massive housing development in the history of Barcelona. The original military plan was based on two-story row houses forming a strict grid of linear blocks with ten houses. The house dimension was established as 10 by 10 varas. A “vara,” meaning rod or pole, is an old Spanish unit of length used until the end of the 19th century. One vara equals 0.84 meters, almost 3 feet. The neighborhood originally hosted families, commerce, industry, and leisure activities related to the Port of Barcelona. With relentless population growth and immigration, the 141.12-square-meter (1.519-square-foot), two-story single-family row houses were divided into what is known as “quarter houses” of 35.28 square meters (379 square feet). The original two-story houses were seven varas tall but were built as high as six stories by the end of the 19th century. This rapid increase in height created high-density buildings with 340 dwellings per hectare that continue to host the famous “quarter houses” next to Barceloneta Beach, which was redeveloped in 1995. Today, the dwindling local population coexists with uncontrolled, low-cost tourism.

WashU Approach

FA20–FA21

Xiaofan Hu

Master of Architecture

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

FA21

Xiaofan Hu

Master of Architecture

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

100

FA20

Elaina Echevarria

Master of Architecture

101

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

102

FA20

Patrick Hatheway

Master of Architecture

103

419 Core Studio International Housing Studio: Barcelona

WashU Approach

Emiliano López

104

FA20

Jingpan Zhang

Master of Architecture

105

419 Core Studio International Housing Studio

Melisa Betts Sanders Lecturer

FA20

The Ville is a historic African American neighborhood in north St. Louis City formally composed of two neighborhoods, The Ville and The Greater Ville. It has a celebrated heritage rooted in Black institutions devoted to education, business, entertainment, and culture. Finding their residential mobility highly restricted since the founding of St. Louis, African Americans began moving to the Ville at the end of the 19th century. A Black renaissance in the 1920s followed one of the most violent episodes of St. Louis history: the East St. Louis massacre of 1917. To this day, racialized segregation by law (de jure) and everyday practice (de facto) has determined African American residential options. This legacy of discriminatory spatial policy and practice—racial covenants, neglect, disinvestment, redlining, blight, zoning, and racial steering—is visible in the current conditions of depopulation, hyper-vacancy, and fragmentation. As the National Geospatial-Intelligence Agency (NGA) situates its new headquarters in north St. Louis, The Ville and surrounding neighborhoods are poised to see a shift in investment and gentrification. Housing in The Ville is representative of the rest of the city; historic, low-density single-family, two-family, and four-family residences feature semi-public front porches that function as a threshold from the public right-of-way to private interiors. Increased reliance on car transportation prompted a reversal of the original public– private relationships, which reframed the rear entry as a semi-public space. In this studio, students explored a remnant site in The Ville, investigating the relationship between the laws and spatial

practices governing public and private residential space. Projects reimagined the blurred boundaries between street, building frontage, enclosure, rear, and alley/service corridors while responding to the histories, both visible and erased.

St. Louis: The Ville

WashU Approach

106

Yulia Morina

Master of Architecture

107

419 Core Studio International Housing Studio: St. Louis

WashU Approach

Melisa Betts Sanders

108

FA20

Yulia Morina

Master of Architecture

109

419 Core Studio International Housing Studio

Don Koster Senior Lecturer

Halifax: E Mari Merces From the Sea, Wealth Halifax, the vibrant capital of the Province of Nova Scotia, is the largest city in Atlantic Canada and the second largest coastal city in the country. An amalgamation of several municipalities, the Halifax Regional Municipality (HRM), commonly known as Halifax, encompasses all of Halifax County with most of the urban population lining Halifax Harbor. The ancestral lands of the Mi’kmaq, Halifax was established in 1749 by the British with multiple fortifications encircling the harbor, the primary being the Halifax Citadel, which proudly overlooks the Halifax Peninsula to this day. Throughout its history, Halifax Harbor has played a pivotal role in the physical, cultural, and economic character of this port city. Home to the Atlantic fleet of the Royal Canadian Navy, large container shipping operations, and a frequent port of call for passenger vessels, the harbor continues to be an economic and recreational centerpiece. The 21st century has seen this regional center of government, commerce, education, and culture continue to urbanize as new multifamily residential developments increasingly replace portions of the coastline that were formerly dedicated to work. Students reflecting critically on this transformation, studying the province’s coastal geography, maritime traditions, and humid continental climate. Focusing on the site of the former “Dart Slip” overlooking Halifax Peninsula, students speculated and proposed new waterfront residential developments that would add to the vitality and sustainability of this dynamically changing landscape. WashU Approach

110

FA20

Min Lin

Master of Architecture

111

419 Core Studio International Housing Studio: Halifax

WashU Approach

Don Koster

112

FA20

Min Lin

DW UP

DW UP UP DW

TYPICAL PLAN SCALE

1:150

Master of Architecture

113

419 Core Studio International Housing Studio: Halifax

FA20

Don Koster

UPPER FLOOR 1/8” = 1’-0” A

WashU Approach

114

Emily Haller

Master of Architecture

115

419 Core Studio International Housing Studio

Stephen Leet Professor

Marfa

“… Marfa has a presence in a world much larger than its own borders…. Marfa is not a given space, because all space is created. Marfa’s existence and identity are directly owed to the people of its history, including but certainly not limited to the artist Donald Judd. Marfa is an active, engaging space that continues to transform, most notably through its tourism but also through the arrival of newcomers. Marfa’s geographic remoteness almost guarantees that its population will never exceed about two thousand residents. The distance between Marfa and elsewhere is the filter that keeps it somewhat protected from any dramatic development.… Housing is an issue because of the tourism and second home ownership that leads to short-term Airbnb rentals and contributes to a lack of affordable housing for locals…. It is a place populated mostly by Hispanics, whose experience of Marfa is not the focus of the media’s attention. It is a place near the border with Mexico, which has contributed to its history and present occupation by the U.S. Customs and Border Protection. It is a place of change, and although all places are places of change, Marfa is special.” —Kathleen Shafer, “Marfa, The Transformation of a West Texas Town,” 2017

WashU Approach

116

FA20

Jaewon Choi

Master of Architecture

117

419 Core Studio International Housing Studio: Marfa

WashU Approach

Stephen Leet

118

FA20

Jaewon Choi

Master of Architecture

119

419 Core Studio International Housing Studio: Marfa

WashU Approach

Stephen Leet

120

FA20

Yifan Wang

Master of Architecture

121

419 Core Studio International Housing Studio

Philip Holden Senior Lecturer

FA21

The Midwestern landscape we know begins with an assertive overlay of a surveysupergrid, abstracting and appropriating land at the staggering expense of an entire Native American society. What is now Chicago was a miles-wide swamp barely separating the Mississippi River Valley from the Great Lakes. Setting Chicago in motion, an engineered shipping canal joined these two enormous water-trade systems. The consequent economic storm brought population density and yet more engineering simply to make the city work—the technologies and expressions of building tall, of a sanitary system which required both the lifting of buildings and raising of the ground level to establish a sewer system directed to the Chicago River whose direction of flow was then forcibly reversed sending its water and sewage away from the lake and the city; and of bascule bridges, and now the Deep Tunnel. Chicago, as a place, was created through problem solving and overpowering engineering. It should be no surprise that engineering and technology are fundamental to its architectural heritage. When we speak of the culture of Chicago, we are simultaneously speaking of the culture of architecture itself—an architecture of unselfconscious technology, of grounded openness, of endless experimentation. So, it is with some self-consciousness we will re-invent and re-establish the demolished bascule bridge at West Erie Street across the North Branch of the Chicago River. Via the 2021 Chicago

Biennial, The Available City, we will explore the limits of architecture as a social remedy, while simultaneously addressing the new and significant threat of climate related water fluctuations, both very real conditions of our site.

Chicago: Technology and Place

WashU Approach

122

Keeyoung Jung

Master of Architecture

123

419 Core Studio International Housing Studio: Chicago

WashU Approach

Philip Holden

124

FA21

Keeyoung Jung

Master of Architecture

125

419 Core Studio International Housing Studio

Mónica Rivera Professor of Practice

St. Louis has a complex history of residential racial segregation caused by practices resulting from private activity and government policies designed to separate African Americans from whites. After World War II, federal government policy was introduced to suburbanize—in St. Louis and throughout the United States—the white working-class population, moving them out of what were often integrated urban centers. St. Louis’ history of population decline, led by discrimination and the “white flight” of the second half of the 20th century, brought disinvestment and abandonment to historically dense, consolidated neighborhoods with vacancies that scar the urban fabric and communities today. Students designed multi-household projects weaving residential and new programs to reconcile a fragmented area and its different conditions, including pedestrian retail streets, houses, alleys, public services, community gardens, and a park. Students observed and learned from the city’s low- and mid-density traditional housing types, which are geometrically generic for economy yet rich in repertoires of thresholds—including sitting and sleeping porches, double doors, front yards, and level changes—between domestic space and the city. They also observed the city’s rich culture of clay material and some interior spatial arrangements, especially in six-unit multifamily buildings, considering how they aggregate to form larger housing with courtyards and corners to solve

different urban situations. By working from within, and with ideas for diverse people to live together at the core of design intentions, students developed nuanced inventions at the level of internal spatial arrangements to enable imagined uses that support inclusive contemporary inhabitation scenarios and sustainable, passive ways to face the city’s extreme temperatures.

FA21

St. Louis: Living Together

WashU Approach

126

Shangyu Su

Master of Architecture

127

419 Core Studio International Housing Studio: St. Louis

WashU Approach

Mónica Rivera

128

FA21

Shangyu Su

Master of Architecture

129

419 Core Studio International Housing Studio: St. Louis

WashU Approach

Mónica Rivera

130

FA21

Bob Inapanuri

Master of Architecture

131

Mónica Rivera Professor of Practice

419 Core Studio International Housing Studio

San Juan: Tropical Thresholds San Juan, Puerto Rico’s capital and the second oldest European settlement in the Americas, was founded by the Spanish in 1521. The historic district of Old San Juan, originally a military outpost, occupies the tip of a rocky islet at the entrance to the Bay of San Juan. Still surrounded by parts of the original defensive walls, the neighborhood is formed by 16th to 18th century one- and two-story buildings that form a grid of compact city blocks punctuated by patios with water cisterns. This studio focused on a site in La Puntilla, a tip of low land outside and south of the city’s defensive walls. Once the site of the Spanish fleet’s arsenal and customs, it is now occupied by the Institute of Puerto Rican Culture, the National Guard, housing, and a large parking lot. Now a UNESCO World Heritage Site and one of the island’s main tourist attractions, Old San Juan embodies an urban model of living that is diametrically opposed to the predominantly suburban housing model introduced by the late 1940s economic and social reforms launched by the New Deal. The sprawl of single-family, modernist concrete houses covers most of the island’s built territory and has slowly degraded its historic town centers. Mostly residential and infrastructural, the sprawl has created areas of segregated use and car dependence. Students proposed collective housing solutions that acknowledge the city’s rich historic heritage and the island’s tropical coastal climate.

WashU Approach

132

FA20

Nathan Stanfield

Master of Architecture

133

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mónica Rivera

134

FA20

Nathan Stanfield

Master of Architecture

135

419 Core Studio International Housing Studio: San Juan

WashU Approach

Mónica Rivera

136

FA20

Madeline Peters

Master of Architecture

137

500— 600 Advanced Architectural Design Options Studios WashU Approach

138

Instructors FA20 Chandler Ahrens Patty Heyda John Hoal Robert McCarter Heather Woofter Hongxi Yin

Instructors SP21 Petra Kempf Zueler Lima Robert McCarter Kelley Van Dyck Murphy Mónica Rivera Linda Samuels Hongxi Yin

Instructors FA21 John Hoal Carlos Jiménez Robert McCarter Michael Willis

Instructors SP22 Ramon Bosch Bet Capdeferro Gia Daskalakis Derek Hoeferlin Robert McCarter Hongxi Yin

Fundamental to the graduate curriculum is the advanced architectural design studio sequence. Each semester, students select from a range of vertical studio options organized around projects and topics. These studios, which often include national and international field trips, emphasize the development of strong conceptual abilities, thoughtful integration of technical information, and convincing representations of architectural ideas in two- and three-dimensional form and through a variety of media. The goal is for each student to develop clear design principles, strong technical resources, and an independent, critical position on the making of architecture in the world. A variety of “comprehensive” design studios are offered each semester, which give students an opportunity to integrate structural and environmental concepts into their building design. During the fall and spring semesters, internationally based architects and designers temporarily reside in St. Louis and teach design studios on campus. This unique arrangement allows our students to connect with visiting professors just as they do with local faculty. Their presence throughout the semester contributes to the international atmosphere and facilitates rich and diverse cultural exchanges for both students and faculty.

Master of Architecture

139

500–600 Options Studio

Patty Heyda Associate Professor

FA20

One Form After Another: Re-Place Architecture This studio explored questions of site specificity and contextuality in Architecture. The studio searched for an answer to the question “How do buildings relate to their sites?” which was not as simple as it seemed. Because sites are not as simple as they seem. The studio asked: What does it actually mean to produce an “authentic” project today, when the world around us is effectively determined by rhetorical economic development imaginaries, political maneuvering, and unsustainable criteria—even lies? How exactly does architecture respond in contexts that are profoundly fragmented—if not erased altogether—by these contradictory externalized forces? (If you are reading this from a makeshift workplace during a global pandemic of distancing and disconnection, then you already have a sense of what spatial-temporal fragmentation means and how it redefines space, whether you wanted to redefine that space or not.) Beyond the 2020 pandemic moment, sites—and the buildings designed to “fit” them—have long been contested entities. In addition to physical, material, and environmental conditions, sites are construed by intense social and capital negotiations, what art historian Miwon Kwon calls “locational identities.”1 Drawing on Kwon’s One Place After Another to revisit questions of site specificity within the applied world of architecture and urbanism, WashU Approach

students designed, then redesigned, a single program for three different sites over the course of the semester, each time expanding the definition of site itself.2 As students designed different projects for sites 1 and 2, they understood those sites to be distinct (although both were broadly located within Eastern Missouri and the Midwest). Not until they were presented with “Site 3” at the end of the semester did students learn that all the sites were actually the same place, captured at different moments in time over the long course of existence and development—and redevelopment. The studio used the conceptual designations Natural, Community, and Logistics for each site to frame design responses. The actual place was Kinloch, Missouri (and adjacent Ferguson).

140

1. Miwon Kwon, One Place after Another: Site-Specific Art and Locational Identity (Cambridge, MA: The MIT Press, 2002). 2. It turned out that students were designing for the same site all along.

Cao Congwei

10.17

10.10

10.10 10.03

10.03

10.17

10.10

10.17

09.19

.19 09

09.19

09 .12

10.24

09 .19 09.12

10.24

4 10.2

09.19 09.19

09.12

10.3 1 10.31

10.31

10.31 11.21

08.15

11.21

08.15

.29

11.21 11.21

08.15

.05 09

08.08

1212

08.29

08.08

1212

11.21 11.21

10.31

1 10.3

09.05

11.21 11.21 11.21 11.21

1 10.3

10.31

09.12

11.21 11.21 11.21 11.21 11.21 11.21 11.21

08.01 08.01 08.01 08.01 08.01

11.21 11.21 11.21 11.21 11.21

08.01

07.25

12.19 12.19 12.19 12.19 12.19 12.19 12.19

07.25

07.25 07.25 07.25

07.18

07.18 07.18

01.16 01.16

07.11

07.11 07.11

07.11

07.18

07.11

02.20

06.27 07 07.11 .11 03.20

06.27

03 03 .20 03.20 .20

06.20 06

.27

06 .27 .27

06.13 06.13 06.13

06.13

05.30 05.30 05.30

05.30 05.30

05.23

05.23 05.23 05.23 05.16

05.23 05.23

05.16 05.16

05.09

05.02

05.02 05.02 05.02 05.02

05.02 05.02 05.02 05.02 05.02 05.02

LEGEND

SEASON-LONG VENDORS Consumer Winter Time

OCCASIONAL VENDORS

NON-PROFITS

CONSUMERS

EarthDance Organic Farm School

EarthSprout

Alpacas of Troy

Vitl'z Snack Brand LLC.

Kay's Kreations

League of Women Voters

Ferguson Historical Society

People who likes to cook at home

Howie Farms

Bridge Bread Bakery

Windy hill farms

Bella's Homemade Biscuits

Ann's Fused Glass

University of Missouri

St. Louis Zoo

Restaurants

Kuhs Estate & Farm

Pete’s Pops

Surge Coffee Co.

Pittman Leather

Goose Creek Soap Co.

Ferguson Eco Team

People Reaching Out For Unity and Diversity

Tourists

Pearson’s Produce

Delhi Sustainable Farms

Voss Pecans

Lesa's Soaps & Lotions

Great Rivers Environmental Law Center

Ferguson Middle School Gardens

People who loves organic food Low income group

Missouri Honey

Friends of the Market Food Booth

Christie’s Jamaican Plates and Bakes

Martha's Rainbow Collection

Great Rivers Greenway

Good Shepherd Arts Center

La Fuente Tamales

St. Stephens and the Vine Food Booth

Glow Naturale

Medicare Solutions

Ferguson Library

Community Gardens of Hope Hill

Houston Candles and more

Equadorian Handcrafts

Christian Hospital

Oberweis Dairy

Farms Related

Summer Time

Multi Business Company

Single Family Business

African American Business

Non-profit Organization

Consumers

EARTHDANCE FARM SCHOOL

Outdoor Annual Vegetable Production Fields

Greenhouse vegetable shed

April-May

June-August

September-October

November-March

cabbage carrot lettuce napa cabbage radish chard chives cilantro

beans cherry tomato cucumber garlic sweet pepper potato summer squash cilantro

arugula kale snap bean lettuce onion carrot cabbage basil

asian greens lettuce spinach chard radishes

Master of Architecture

141

Take this farm as an example. Through scientific planting methods, it can provide the community with fresh vegetables throughout the year.

500–600 Options Studio One Form After Another

Patty Heyda

SITE PLAN SITE PLAN

SITE PLAN

WashU Approach

142

FA20

Cao Congwei

Master of Architecture

143

SECOND FLOOR 500–600 Options Studio Patty Heyda The Another main function of the second floor plan is a three One Form After

of trees, and the middle solid part is a bird’s nest shape, which is convenient for birds to build nests.

FA20

room hostel and a viewing platform. People can enjoy the scenery on the viewing platform and watch the cardinal at the same time. Because the food that cardinal likes to eat is planted on the ground of the first floor, cardinal will be attracted to build nests on the first or second floor.

Hostel

Nest for cardinals

GROUND FLOOR

SECOND FLO

The main functions of the first floor plan include the kitchen of the hostel and the ecology center with its coffee bar. The windows on the facade can change the opening direction according to the wind direction. This will maximize airSECOND flow and create the best indoor FLOOR conditions forSecond the ecology Second Floor center. Floor

The main funct room hostel an scenery on the at the same tim eat is planted o be attracted to

ROOF

Roof

Bar

Kitchen

Ecology Center

GROUND FLOOR

WashU Approach

144

Cao Congwei

Master of Architecture

145

500–600 Options Studio

John Hoal Professor

FA20

Decoding the Divide: Urban Socialscapes The intention of this studio was to enhance students’ design thinking by rigorously enframing the production and making of architecture in a critical discourse at the intersection of urbanism, publicness, and communitarianism. In particular, this studio focused on the understanding and construction of an architecture that is derived from and occupies the city along the north–south dividing line—Delmar Boulevard—a physical, social, economic, racial, and religious division. We conceptualized an architectural speculation that is a critical and thoughtful play in the ambiguous field of tension that makes the city. As such, this studio not only required students to understand the issues of program, site, climate, physical form and quality, construction methods, and materials, but also to investigate the making of architecture in and of the city as sympoiesis and a collective self-conscious temporal and spatial act of communitarianism. The studio sought to construct an architecture that remains open to possibilities and interpretation—an architecture that is never finished and constantly changes over time and space—an architecture that allows it-self to be (re)consumed without its own demise, while constantly re-defining the city as a place and a community without hardened lines and divisions. Students developed these ideas by proposing an urban–socialscape with a hybrid program anchored by a new public library that is responsive to the delivery of 21st-century knowledge. Additional programmatic WashU Approach

elements included ground-floor retail and shared-economy space, a transportation center with a library bike-share/e-scooter program, affordable and/or senior housing, a social service and public health hub, and a minimum of two public spaces. With the public library as the anchor civic institution, students were challenged to re-conceptualize the role of the public library while infusing the additional programmatic components with the implications thereof. Findings from a study by the American Enterprise Institute suggest that living in communities rich in amenities such as libraries and coffee shops positively affects social capital such as trust, sociability, and neighborliness, while decreasing social maladies such as loneliness. As a result, the hybrid urban_socialscape must be a place to build an equitable community; democratize education; foster socialization and community engagement, health, and learning; facilitate the sharing economy; and lead the response to the global and local socio-environmental and public health challenges.

146

1. Samuel J. Abrams, Kaylan Bowman, Eleanor O’Neil, and Ryan Streeter, “AEI Survey on Community and Society: Social Capital, Civic Health, and Quality of Life in the United States” (American Enterprise Institute, February 9, 2019), https:// www.aei.org/research-products/report/ aei-survey-on-community-and-societysocial-capital-civic-health-and-quality-oflife-in-the-united-states/.

Anthony Iovino

Master of Architecture

147

500–600 Options Studio Decoding the Divide

WashU Approach

John Hoal

148

FA20

Anthony Iovino

Master of Architecture

149

500–600 Options Studio Decoding the Divide

WashU Approach

John Hoal

150

FA20

Dennis Dine

Master of Architecture

151

Heather Woofter Sam and Marilyn Fox Professor

500–600 Options Studio

FA20

Unrecoverable Memories: Archiving Luis Barragán The archive of the Mexican architect Luis Barragán is a place of mythical and, almost, mystical qualities because of its maker’s recognition and the importance of his oeuvre. The Barragán Foundation in Basel, Switzerland (part of the Vitra Foundation) has become the focus of speculation and contention within Mexican and international circles because his work is located outside of Mexico and inaccessible to all but a small cadre of researchers. Purchased by the Vitra Foundation in 1995, the Barragán archive consists of work produced by the office of Luis Barragán and contains almost 37,000 pieces, including architectural drawings, models, furniture, and publications. This studio addressed an architectural archive’s logistics and created propositions to enable, transform, and propose future work and knowledge. The studio work challenged each student to develop a series of theoretical positions and understandings regarding the use, perception, materiality, and experience of an archive of architecture. Each student designed a small building on the Vitra Campus in Weil am Rhein, Germany, to be an accessible place for study, learning, and for safeguarding the legacy of Luis Barragán. Given the circumstances of hybrid learning and digital communication tools for distance learning and working, the semester offered new opportunities for connections. WashU Approach

The studio worked collaboratively with Professor Luis Carranza and his studio at Roger Williams University. Professor Carranza is the author of Architecture as Revolution: Episodes in the History of Modern Mexico (University of Texas Press, 2010) and Modern Architecture in Latin America: Art, Technology, and Utopia (University of Texas Press, 2015).

152

Yannan Li & Zheyi Yuan

Master of Architecture

153

500–600 Options Studio Unrecoverable Memories

WashU Approach

Heather Woofter

154

FA20

Yannan Li & Zheyi Yuan

Master of Architecture

155

500–600 Options Studio Unrecoverable Memories

WashU Approach

Heather Woofter

156

FA20

Yannan Li & Zheyi Yuan

Master of Architecture

157

500–600 Options Studio Unrecoverable Memories

WashU Approach

Heather Woofter

158

FA20

Boyan Zhang & Qingshan Hu

Master of Architecture

159

500–600 Options Studio Unrecoverable Memories

WashU Approach

Heather Woofter

160

FA20

Boyan Zhang & Qingshan Hu

Master of Architecture

161

500-600 Comprehensive Options Studio

Robert McCarter Ruth and Norman Moore Professor

FA20

An-Other Venice: A Vertical Convent as Addition to Le Corbusier’s Venice Hospital An-Other Venice: Today Venice is a dead, “museum” city with only 52,000 citizenresidents and over 30,000,000 tourists annually. However, in March of 2020, Venice was transformed into a ghost town, completely emptied of tourists by the coronavirus pandemic, its economy decimated. The COVID-19 pandemic reminded the citizens of Venice—where the term “quarantine” was first coined during the Black Plague of the 1300s, when ships were held for forty days, quaranta giorni or quarantina—that their city’s economic dependence on mass tourism is only a relatively recent occurrence, the result of decisions made by the citizens 55 years ago. This studio took place in this “Other Venice,” a city where in the 1960s, in an effort to save the city of Venice for Venetians, decisions were made by the citizens to embrace cultural tourism and the contemporary, living city, and to reject commercial mass tourism and the dead, museum city. This was paralleled by the construction of a series of housing and institutional projects sited around the largely open periphery of the city. WashU Approach

Le Corbusier’s Venice Hospital: The project of 1965, commissioned in 1963 for a site near San Giobbe on the western edge of the Cannaregio district, is a complex re-weaving of the historic urban fabric formed by pin-wheeling, rectangular volumes lifted above the lagoon on a forest of piers. By elevating the largest portion of the program—the patient rooms—to the roof, and suspending the operating rooms and clinics beneath, with only the entries and emergency services on the ground, Le Corbusier opened the urban space of the city to the lagoon, over which more than half of the building volume extends. The design reinterprets the syncopated rhythm of movement through Venice’s land and water passages, thereby weaving and intertwining the spatial, material and cultural layers of the city so as to be at once ancient and modern, archaic and contemporary. Le Corbusier’s Hospital comprises a city in miniature, a contemporary abstraction of the historic urban spatial structure of Venice, yet it is also intentionally incomplete and thereby open to extension and modification over time.

162

solar panel

Yizhen Wang

concrete plaster

183 ft

dark wood

139.5 ft

light

130.5 ft

dark wood

117.0 ft

wood

The Vertical Convent: As a result of the construction of Le Corbusier’s Venice Hospital in the 1960s, the northwestern end of the Cannaregio canal, adjacent to the train and car bridge, has been transformed from a remote and rarely visited peripheral location to a vital and bustling center of daily life in the city of Venice. To be able to serve the patients and staff of the hospital, as well as the citizens of Venice, the Benedictine sisters have chosen to site their new Convento di Cannaregio directly adjacent to the hospital in the entry campo. The public monastic programs of chapel, school, and day care will be located at the ground within the 15-meter height of the hospital, anchoring the convent to the city, while the private monastic programs of sisters’ cells, cloister, refectory, library, choir, sisters’ chapel, chapter house, and colloquium will be elevated off the public ground plane and into the sky, the majority set above the 15-meter height of the hospital, thereby transforming the traditionally horizontal convent into a habitable axis mundus—the vertical axis connecting the earth to the heavens. Master of Architecture

163

99.0 ft

wood

90.0 ft

81.0 ft

72.0 ft

63.0 ft

wood

wood terrazo mortar 54.0 ft sewer, cold water, hot water, gas, recycling water

fine mortar

45.0 ft

fine mortar

36.0 ft

dark wood

23.5 ft

dark wood

21.0 ft

dark wood plaster mortar, radiator pipe rigid insulation

0.00

-3.0 ft

concrete rigid insulation pre-casted concrete panel cladding lagoon

stone

brick

wood

concrete

500-600 Comprehensive Options Studio An-Other Venice

WashU Approach

Robert McCarter

164

FA20

Yizhen Wang

Master of Architecture

165

500-600 Comprehensive Options Studio An-Other Venice

WashU Approach

Robert McCarter

166

FA20

Gary Lee

7. Refectory

6th Floor Plan

Master of Architecture

0 2

10 �

167

500-600 Comprehensive Options Studio An-Other Venice

WashU Approach

Robert McCarter

168

FA20

Gary Lee

Master of Architecture

169

Hongxi Yin InCEES Associate Professor

500–600 Comprehensive Options Studio

FA20

The Rebirth of SAMARA House: Saving the Legacy of Frank Lloyd Wright in the Hoosier State* In this project-based, preservation design studio, students explored a holistic approach to preserving and restoring the John E. Christian House in West Lafayette, Indiana. The 2,200-square-foot house is commonly known as “Samara House.” Named for the winged seeds found in pinecones, samara is the motif for this home, considered the most fully realized of Wright’s Usonian designs. The Samara House was designated a National Historic Landmark in 2015, the highest designation awarded by the National Park Service to a historic site of extraordinary national importance. Students researched Frank Lloyd Wright through publications and field trips to historic sites to learn about his Usonian houses. They then developed a community engagement questionnaire focusing on residents of the Hills and Dales Historic District in West Lafayette to collect input for the preservation and restoration of Samara House. Students were introduced to research methods in architectural history, including gathering, recording, and interpreting information about historic buildings. Practicing advanced digital documentation, WashU Approach

students catalogued the Samara House—and the over 40 architectural innovations it features—using 3D scanning, photogrammetry, ground-penetrating radar, and 3D printing technology for historic preservation. Following the National Register of Historic Places’ documentation requirements and HABS conventions for measuring drawings and photographs for archival purposes, students performed advanced graphical and numerical analysis of current building hazards and investigated potential preservation strategies based on architectural, material, and structural knowledge for Samara house. Students collaborated with the curator of Samara House to improve building descriptions and historical narratives. Based on feedback from the local community, students designed innovative restoration techniques for successfully adapting this historic resource. Students’ were challenged with revitalizing the existing structure while considering financial parameters and long-term feasibility projections within West Lafayette’s urban and rural contexts. Students worked with

170

* The project received the National Register of Historic Places award

Junhao Li

Samara House Foundation, Hills and Dales Historic District Community, the City of West Lafayette, and Indiana Landmarks and Historic Preservation to create design solutions that meet the community’s needs while protecting this national heritage site. Finally, students worked on a highly collaborative format for lectures, critiques, and technical reviews from outside experts, including Professor Jonathan Spodek, director of the graduate program in historic preservation at Ball State University, and world-class research groups for geomatics engineering, construction engineering, and geotechnical engineering from Purdue University. Students also received critiques from T. Gunny Harboe, a renowned architect in the historic preservation of Frank Lloyd Wright’s buildings. In addition to visiting Samara House, other visitis included Frank Lloyd Wright’s Kraus House and Dana Thomas House; two houses by Marion Mahony, who worked in the Frank Lloyd Wright atelier before starting a practice with Walter Burley Griffin; and a house Griffin designed in Edwardsville, Illinois, as well as his public library in Anna, Illinois. Master of Architecture

171

500–600 Comprehensive Options Studio The Rebirth of SAMARA House

WashU Approach

Hongxi Yin

172

FA20

Junhao Li

Master of Architecture

173

500–600 Comprehensive Options Studio The Rebirth of SAMARA House

WashU Approach

Hongxi Yin

174

FA20

Junhao Li

Master of Architecture

175

500–600 Comprehensive Options Studio The Rebirth of SAMARA House

WashU Approach

Hongxi Yin

176

FA20

Rubo Sun

Master of Architecture

177

500–600 Comprehensive Options Studio The Rebirth of SAMARA House

WashU Approach

Hongxi Yin

178

FA20

Rubo Sun

Master of Architecture

179

Petra Kempf Assistant Professor

500–600 Options Studio

Shift[ing] Grounds: Explorations Towards Common Life This studio explored mechanisms that trigger the possibility for common ground to spatially materialize and evolve. Based on the idea that flourishing processes of commoning need both narrators and translators, students considered how architecture and the stories of its inhabitants can trigger change toward a common life within an urban setting. The studio was organized around two principal agendas that were intertwined with one another: (re)search analysis and an architectural proposal. The studio began with a hypothetical game aimed at configuring a collective life. That study was followed by several weeks of data collection building upon discoveries made from the game. This also included the analysis of precedent studies ranging from a singular to a plural unit, stretching from a building to an entire block, as well as articles on commoning and various forms of landownership.

WashU Approach

180

SP21

Tara Weng Min Lin

Master of Architecture

181

500–600 Options Studio Shift[ing] Grounds

WashU Approach

Petra Kempf

182

SP21

Tara Weng

Master of Architecture

183

500–600 Options Studio Shift[ing] Grounds

WashU Approach

Petra Kempf

184

SP21

Min Lin

Master of Architecture

185

500–600 Options Studio Shift[ing] Grounds

WashU Approach

Petra Kempf

186

SP21

Min Lin

Master of Architecture

187

Mónica Rivera Professor of Practice

500–600 Comprehensive Options Studio

SP21

Reprogramming Suburbia Strategies for Subdivisions in Puerto Rico Political changes brought about by U.S. legislation allowing Puerto Ricans to democratically elect their own governor in 1947 and draft their constitution in 1951 led to the creation of the Commonwealth of Puerto Rico in 1952. The first elected governor decisively embraced modern architecture, already present in the island through several architects, including Richard Neutra, who for two years led the Puerto Rico Committee for Public Works created in 1943. Subsequent housing needs and policies introduced massive developments of collective housing blocks, as well as residential subdivisions. In 1947, a U.S. private developer built the first track housing subdivision for low-income families using federal financing and ever since, this lowdensity suburban model has been the primary form of housing. Its sprawl has created car dependence and segregated uses in opposition—and detriment—to the island’s compact, historic city centers with continuous street facades and shaded public spaces. The architecture of the suburban single-family, detached houses—typically one-story with open carports—is the least environmentally appropriate for the island’s tropical, year-round hot and humid climate and heavy rains: flat uninsulated roofs with high thermal mass, low ceilings, and limited cross ventilation result in air conditioning dependence.

WashU Approach

In this studio, students confronted this ignored suburban panorama with proposals for reusing and transforming these isolated, climatically inadequate structures into socially meaningful places by 1) improving the spatial and thermal conditions of the existing houses; 2) increasing residential density and strategically introducing a new civic or social program; 3) creating open-ended spatial configurations to accommodate changing needs, programs, and different household types; and 4) designing replicable strategies to transform the whole suburban block into a new type of neighborhood with a diversity of uses and users and shared spaces to support social resilience, food production, and rain gardens. The comprehensive aspect of the studio is understood in two ways. First, as a holistic approach and early strategizing of energy, structure, resources, materials, and program for an environmentally informed architecture. Second, as encompassing the multiple scales inherent in architecture, from the openings— how to manage climate, energy, and safety— to the urban organization and how the new proposals foster walkability and conviviality in urban landscapes.

188

Emily Haller

Master of Architecture

189

500–600 Comprehensive Options Studio Reprogramming Suburbia

WashU Approach

Mónica Rivera

190

SP21

Emily Haller

BLOCK SECTION

1/8” = 1’-0”

BLOCK PLAN

1/8” = 1’-0”

Master of Architecture

191

500–600 Comprehensive Options Studio Reprogramming Suburbia

WashU Approach

Mónica Rivera

192

SP21

Emily Haller

Master of Architecture

193

500–600 Comprehensive Options Studio Reprogramming Suburbia

WashU Approach

Mónica Rivera

194

SP21

Gary Lee

Master of Architecture

195

500–600 Comprehensive Options Studio Reprogramming Suburbia

Mónica Rivera

SP21

Addition Module

Gutter System

Translucent Roof

Solar Panels

Trellis

- local energy - power resiliency - shading

-vegetation -privacy -bracing

Rain Storage -grey water -water resiliency

Railing

Exisitng Building

Residence

Day-care/School

Residence

Day-care

Residence

Butcher/Food

Residence

Office

Residence

Restaurant

Growing Pod

Community Kitchen Local Produce Community Dining

Day-care/School

Architect’s Studio

Residence

Office

Residence

After-school Care

Residence

Restaurant

Residence

WashU Approach

196

Patrick Hatheway

Master of Architecture

197

Hongxi Yin InCEES Associate Professor

500–600 Comprehensive Options Studio

SP21

The Portable: Reinventing Classrooms in the New Era Reusable facilities are a strategic development in U.S. public education systems. One-third of our nation’s 99,000 public schools use “portable classrooms”—approximately 300,000 units nationwide—to alleviate overcrowding, as well as for disaster and emergency relief.1 However, most schools rate their portable classroom extensions as having “fair” or “poor” building envelopes, ventilation and filtration, emergency management systems, electrical systems, and lighting.2 These portable classrooms barely meet the minimum requirements for educational environments due to deficiencies in design, materials, energy efficiency, durability, and functionality. Compounding this problem is a growing digital divide between well-funded suburban schools, that can hire the best teachers and buy the best technology for their classrooms, and inner-city and rural schools where students lack both the technology tools and internet access that is critical for preparing students for future careers. The pandemic crisis has highlighted this digital inequality. Many children cannot succeed in remote learning environments without access to technology tools and internet connectivity. The situation will WashU Approach

continue to strain our education system as the pandemic drives migration from urban to suburban and rural communities. We will see large increases in student populations in school districts that do not have the space or technology to handle the influx of students. In this comprehensive options studio, students addressed these issues by proposing high-quality and highperformance reusable units of different scales and applicable to various types of facilities (single classroom, multiple functions, one story, multiple levels, etc.). The James E. Freer Elementary School is a public elementary school with 325 students in grades pre-kindergarten through second grade located in the Windsor C-1 School District in Barnhart, Missouri. Students carefully examined this real-life setting to brainstorm multiple ways to design and produce classroom extensions that are both portable and quick to assemble. Consulting with professional architects, fabricators, engineers, and scientists, they then worked in teams and independently to research design solutions that systematically address structural systems, envelope design, and environmental sustainability by integrating innovative

198

Ke Chen

building materials and components, autonomous fabrication and construction processes, and high-performance building systems into an organic whole. Based on their research, students developed a relocatable and prefabricated approach to extend the school’s existing infrastructure and elevate its built environment. Their projects will become the basis for Team WashU’s Solar Decathlon Build Challenge in 2023, a design-build showcase with industrial partners of topnotch relocatable construction prototypes. 1. U.S. Department of Education, National Center for Education Statistics, “Condition of America’s Public School Facilities 2012-13,” NCES, 2014, https://nces.ed.gov/fastfacts/display. asp?id=94. 2. Stephanie Thomas-Rees, Danny Parker, and John Sherwin “Lessons Learned in Portable Classrooms,” ASHRAE Journal, May 2009.

Master of Architecture

199

500–600 Comprehensive Options Studio The Portable Classroom

WashU Approach

Hongxi Yin

200

SP21

Ke Chen

Master of Architecture

201

500–600 Comprehensive Options Studio The Portable Classroom

WashU Approach

Hongxi Yin

202

SP21

Ke Chen

Master of Architecture

203

500–600 Comprehensive Options Studio The Portable Classroom

WashU Approach

Hongxi Yin

204

SP21

Amanda Ridings

Master of Architecture

205

Kelly Van Dyck Murphy Assistant Professor

Options Studio 500-600

SP21

Salvaged Content: Projecting a Future from the Discarded Past Packed within endless rows and stacks of crates are tens of thousands of objects that attest to a period of great innovation in building design, ornamentation, and utility. Carefully disassembled, labeled, and packed sections of cornices and architraves from dozens of great public facades. Hundreds of decorative terra cotta medallions, limestone lintels, and carved wooden brackets. Intact early twentieth-century elevators with their delicate birdcage tracery, along with the machinery and hardware that animated them. Massive industrial drill presses and lathes. Three-story castiron storefronts, stowed away in their entirety. Box upon acid-free box of rare mechanical and trade publications. Drawer upon drawer of blueprints. Marble columns. Ceramic tiles. Iron manhole covers. And bricks. Endless unique specimens of brick. —Joseph Heathcott and Pamela Ambrose, on the collection at the National Building Arts Center, from “Industrial Urbanism as an Archival Project: The Work of the Building Arts Foundation,” Art Documentation 28(1), 2009, 45−47. WashU Approach

The National Buildings Arts Center in Sauget, Illinois, contains the largest and most diverse collection of building artifacts in the United States. However, this vast accumulation of architectural remnants is currently housed in an old steel foundry and stored in never-ending rows of wooden crates stacked to the ceiling. Presently, the center holds over 300,000 artifacts with 110,000 pieces salvaged from civic and commercial buildings, storefronts, factories, warehouses, churches, and homes in St. Louis. Additionally, the collection includes a rare assortment of 25,000 out-of-print architecture books, publications, and other print media. The foundation’s collection formed the basis of the studio project: a museum and archive dedicated to exhibitions and educational programs that present the building arts from design to fabrication and a center for research for architectural fabrication, restoration, and conservation. The spatial relationship between the collection, the archive, and the center for research were central to the studio discussion. Students reexamined the boundary between exhibition and storage to contest conventions of private versus public in cultural institutions.

206

Nick McIntosh

Students undertook a series of small design projects that built upon each other to inform the final design of the museum. Beginning with a selection of architectural artifacts from the center’s collection, students explored the relationship between the artifacts and their container. They also investigated how the artifacts define space, both as building elements from the context of their greater assembly and as discrete objects on display.

Master of Architecture

207

Options Studio 500-600 Salvaged Content

WashU Approach

Kelly Van Dyck Murphy

208

SP21

Nick McIntosh

Master of Architecture

209

Options Studio 500-600 Salvaged Content

WashU Approach

Kelly Van Dyck Murphy

210

SP21

Lindsey Compeaux

Master of Architecture

211

Options Studio 500-600 Salvaged Content

WashU Approach

Kelly Van Dyck Murphy

212

SP21

Nathan Stanfield

Master of Architecture

213

Linda Samuels Associate Professor

500-600 Options Studio

SP21

Spaces of Protest and Democracy Like the fall urban design studio that began this yearlong investigation into “the land on which we stand,” this architecture options studio was also guided by two primary motivations: the momentum of global social uprisings for equity and their particular resonance here in St. Louis, and the emergence of an optimistic, big-vision plan for more socially just and environmentally conscientious cities, the Green New Deal. This studio began with a quick exercise to redesign a highway billboard. This introduced several concepts that followed us throughout the semester: infrastructure as sites of contestation and competition, performance over aesthetics, publicness and democracy, relationships between micro and macro systems, privatization and consumerism, and design as a political act. Next, we focused on contested sites in St. Louis, each with rich and complicated histories and spatial, metaphysical, or ecological damage resulting in visible and invisible scars. These sites included buildings, landscapes, events, and infrastructure, and were researched to expose their deep histories and the economies, politics, and negotiations that led to their current physical condition. Students created three quick design interventions in succession intended to acknowledge, inform, and repair the scars of the contestation. These small design strategies were then tested at a larger scale—the scar of the U.S. urban highway. The second half of the semester focused on obsolete, WashU Approach

under-utilized, or otherwise challenged freeway segments, both as sites of contestation and erasure and sites of protest and power. Student proposals aimed to reclaim and reimagine the space of environmental racism and erasure beyond multi-modality and recreation to real democratization, simultaneously imagining ecological and environmental improvements while repairing the loss and damage caused through “urban renewal” and other forms of spatial violence. The two highway sites, one in Houston and one in Los Angeles, were selected because of their adjacency to significant locations of historical erasure and/or embattled moments of spatial and social justice. The design proposals aimed to improve social equity in the immediate neighborhoods by taking on relevant challenges of the Green New Deal and accommodating the fight for justice through the design of spaces of protest and democracy.

214

Bette Dunn

Master of Architecture

215

500-600 Options Studio Spaces of Protest and Democracy

WashU Approach

Linda Samuels

216

SP21

Bette Dunn

Master of Architecture

217

500-600 Options Studio Spaces of Protest and Democracy

WashU Approach

Linda Samuels

218

SP21

Nakesha Newsome

Master of Architecture

219

500–600 Comprehensive Options Studio

Robert McCarter Ruth and Norman Moore Professor

SP21

A Montessori School: Space and Learning in Contemporary Elementary Education “Learning by doing it oneself, learning that is self-chosen and founded upon individual interest [leads to] the development of a complete human being, oriented to the environment, and adapted to his or her time, place, and culture.” —Maria Montessori This comprehensive options studio engaged five fundamental pedagogical intentions: 1) In designing elementary schools, architects exercise an important influence on our children, offering the opportunity to change society for the better. 2) Self-determined, “learning by making” educational practices such as Montessori are today increasingly recognized as the most effective way to educate children and to integrate them into their environment and culture. 3) Montessori and related educational methods emphasize the tactile and spatial over the visual in the learning process, which this studio paralleled. 4) What matters in architecture is not what a building looks like, but what a building is like to be in, to live in—how it is experienced in inhabitation. WashU Approach

5) Every architectural project should be understood as an addition to a preexisting inhabited/constructed context, whether urban, suburban, or rural. This studio engaged the comprehensive design of a Montessori school. Rather than beginning with a written program and designated site, as is typical, the studio began with two projects, each three weeks in length, both inspired by Louis I. Kahn’s thoughts on beginning design with inhabited space rather than a pre-determined program. The first project, entitled “Carving the Classroom: Abstract CUBE,” was intentionally abstract (meaning “to draw from”), and involved each student constructing a highly resolved proposal for a single Montessori classroom, engaging the fundamentally spatial and experiential definition of the Montessori education of “learning though making.” The second project, entitled “Etching the Earth: Concrete DATUM,” was intentionally concrete (meaning “to grow together”), and involved each student evolving a highly resolved spatial proposal, deploying the programmatic elements of the Montessori school to construct a “society of spaces” as an inhabited/carved surface and

220

Yulia Morina

reconstructed ground/landscape plane. Following these initiatory projects, the site for the school—in Chicago, Illinois—was given, which was developed over the remaining nine weeks of the semester. As part of the final design development, students undertook a third project, entitled “SECTION: Tectonic—Making Place Between Earth and Sky,” wherein a section of the student’s individual designs, connecting earth (foundation) to sky (roof), was explored at large scale. The final project involved bringing the building design to a high level of resolution and, as is appropriate to the “tectonic culture” of Modern architecture, students were asked to resolve “the poetics of construction” for their design, developing the materials, construction, and details that shaped the interior experience of the school’s inhabitants—the ultimate measure of the quality of any work of architecture.

Master of Architecture

221

500–600 Comprehensive Options Studio A Montessori School

WashU Approach

Robert McCarter

222

SP21

Yulia Morina

Master of Architecture

223

500–600 Comprehensive Options Studio A Montessori School

WashU Approach

Robert McCarter

224

SP21

Naitian Tian

Master of Architecture

225

500–600 Comprehensive Options Studio A Montessori School

WashU Approach

Robert McCarter

226

SP21

Chuanyue Xu

Master of Architecture

227

500–600 Comprehensive Options Studio

FA21 Carlos Jiménez Ruth and Norman Moore Visiting Professor

Center for the Study and Preservation of Endangered Species Nicoya Peninsula in Costa Rica, fronts the Pacific Ocean, straddling two of the country’s largest seven provinces: Guanacaste and Puntarenas. This popular tourist destination is delineated by the Pacific’s golden coastline to the west and the Gulf of Nicoya to the south. Located at the southernmost region of Guanacaste, the site for this studio project overlooks one of the quietest beach coves in the area, Playa Carrillo. It is adjacent to Playa Samara, one of the most coveted shorelines in the entire province of Guanacaste. Costa Rica is known for its enthusiastic advocacy for the conservation and protection of its richly diverse flora and fauna. This admirable devotion to preserving the country’s native ecology has also produced counter effects, best seen in the arrival of exploitative agricultural methods and unsustainable mass tourism. Tampering with the carefully intertwined ecosystem, together with greed fueled by disproportionate tourist developments, threatens the natural balance of the region. Several animal and vegetal species are already at risk of becoming extinct, caught in the onslaught of other equally disruptive practices, such as illegal hunting and deforestation. Such marvelous species as the ocelot, the giant anteater, the capuchin monkey, and the danta or tapir, among others, are at the edge of extinction as their environments are cleared away by the most WashU Approach

brutal of all predators: humans. Costa Rica retains more than a quarter of its land as national parks, reserves, and sanctuaries for the preservation of its remaining biodiversity. The country is already at the forefront of such local and global efforts. Several worldwide organizations on climate studies, forestry initiatives, and sustainable ecotourism, are burgeoning throughout the country. The Center for the Study and Preservation of Endangered Species is one such organization. Its building site sits atop a natural clearing amid several acres of primeval land overlooking Playa Carrillo. The building program is divided into three primary, interwoven categories: research, education, and housing. The Center is a cultural and scientific endeavor with global ambitions. It also aims to highlight Nicoya Peninsula as a unique region, redolent of past and future histories, nuances, intersections, pauses, continuities, references, and discoveries. In other words, it is a full encounter with the life of a singular place and its local and global reach.

228

Madeline Peters

Master of Architecture

229

500–600 Comprehensive Options Studio Center for Study and Preservation

WashU Approach

Carlos Jiménez

230

FA21

Madeline Peters

Master of Architecture

231

500–600 Comprehensive Options Studio Center for Study and Preservation

WashU Approach

Carlos Jiménez

232

FA21

Yulia Morina

Master of Architecture

233

500–600 Comprehensive Options Studio

John Hoal Professor

FA21

[Re]Making Africatown Community Trauma + Transformation Building Places for Understanding, Healing, and Empowerment This studio engaged the territory of community trauma, utilizing design to make visible the root cause of the trauma and thereby enabling a process of community understanding, healing, empowerment, and transformation. Community trauma affects groups and neighborhoods long subjected to interpersonal violence, structural violence, and historical harms. Research suggests that the causes of community trauma lie in the historic and ongoing root causes of social inequities, including poverty, racism, sexism, oppression, and power dynamics, as well as the erasure of culture and communities. The community trauma of enslavement, both from a historic and contemporary perspective, was the focus of this design studio. Students participated in the Africatown International Design Idea Competition, a competition motivated by the recent discovery of the wreckage of the Clotilda, the last ship to illegally transport enslaved people to America in 1860, half a decade after Congress had banned slavery. The Clotilda was found in the Mobile River adjacent to Africatown, which was built in 1868 by 32 freed, naturalized previously enslaved people from Benin, Africa. From the time of the city’s inception, Africatown has struggled to survive racist planning, disinvestment, and ecological challenges, as well as industrial encroachment and pollution.

WashU Approach

The descendants of the town’s founders desire to make visible this historic site through the design of a “cultural mile” comprised of a range of projects and programs, including sacred public spaces and interpretive landscapes, educational facilities, welcome centers and museums, boathouses and yacht clubs, and hotels and mixed-income housing, all of which will be integrated into a comprehensive, transformational experience.

234

Nathan Stanfield

addressing the knot. macro site plan. 1” = 200’

PHYTOREMEDIATION

former international paper

chickasaw creek

agricultural research

yr former berg pipe

30 yr truncated bayou

0 yr

freedom school

africatown community garden

pap

er m

ill rd

mobile county training school

truncated bayou

heritage house robert hope community center

AFRICATOWN

Master of Architecture

235

500–600 Comprehensive Options Studio [Re]Making Africatown

WashU Approach

John Hoal

236

FA21

Nathan Stanfield

Master of Architecture

237

500–600 Comprehensive Options Studio [Re]Making Africatown

WashU Approach

John Hoal

238

FA21

Nathan Stanfield

Master of Architecture

239

500–600 Comprehensive Options Studio

Robert McCarter Ruth and Norman Moore Professor

FA21

Building as Contour: A Library for Children’s Books “I did not speak in terms of architecture. He did not speak in terms of sculpture. Both of us felt the building as contour; not one contour but an interplay of contours so folding and so harboring as to make, by such a desire, no claim to architecture, no claim to sculpture.” —Louis I. Kahn This studio program involved the design of a library for children’s books, sited as an “addition” to architect Louis Kahn and the sculptor Isamu Noguchi’s design for the Adele Levy Playground in Riverside Park, located on the Hudson River in New York City. For the purposes of this project, Kahn and Noguchi’s definitive design for the Levy Playground (1961–1966), was assumed to have been built in 1967. Students proposed how a new public library housing the City of New York’s primary collection of children’s books for ages 4–10 (now housed in a below-ground, midtown location) could be added to the Levy Playground and the surrounding context of Riverside Park and combined with support facilities including daycare, community meeting room/indoor play space, and café. As a comprehensive options studio, particular emphasis was placed on design process, degree of development of interior space, and exploration of experiential qualities. Students’ explorations focused on WashU Approach

the aspects of children’s activities, including reading as browsing in the books, reading as sitting in a window seat, and reading as playing. The studio employed a series of sketch projects: “Cube: Room(s)—A Nested Space for Books, Reading, Play,” wherein students proposed spaces both intimate and immense; rooms-within-rooms; and nested rooms for bookshelves, for reading, and for playing. “Datum: Plan(e)s—Under, In, On, and Over the Ground,” wherein students used the four section types to design buildinglandscape, room-garden, and cave-tent. “Section: Tectonic—Making Place Between Earth and Sky,” wherein a section of each student’s individual designs was explored at large scale, becoming the first component of the final presentation. An optional field trip to Philadelphia, New York City, and New Haven, Connecticut, allowed students to visit the project site in Riverside Park, New York, as well as examine Kahn and Noguchi’s original drawings and models for the Playground at the Louis I. Kahn Collection at the University of Pennsylvania and the The Noguchi Museum in Long Island City, New York. We also visited six buildings by Kahn and three sculptural landscapes by Noguchi.

240

Jingpan Zhang

Master of Architecture

241

500–600 Comprehensive Options Studio Building as Contour

WashU Approach

Robert McCarter

242

FA21

Jingpan Zhang

Master of Architecture

243

500–600 Comprehensive Options Studio Building as Contour

WashU Approach

Robert McCarter

244

FA21

Jingpan Zhang

Master of Architecture

245

500–600 Comprehensive Options Studio Building as Contour

WashU Approach

Robert McCarter

246

FA21

Shangfeng Rao

Master of Architecture

247

500–600 Comprehensive Options Studio Building as Contour

WashU Approach

Robert McCarter

248

FA21

Shangfeng Rao

Master of Architecture

249

500–600 Comprehensive Options Studio

Robert McCarter Ruth and Norman Moore Professor

SP22

In Zenithal Light: A Museum for the Works of Richard Diebenkorn This studio program involved the design of a museum dedicated to the works of a single artist, Richard Diebenkorn (19221993), one of the most important Abstract Expressionist painters. Developed in cooperation with the Richard Diebenkorn Foundation, the studio included a field trip to the San Francisco Bay Area in February 2022, during which students viewed some 25 paintings by Diebenkorn in San Francisco, Berkeley, Oakland, and Palo Alto (Stanford University). The project was sited in Berkeley, California, directly north of the University of California campus. The 8,000 works on paper held by the Foundation, as well as hundreds of Diebenkorn paintings held in the collections of local museums, constituted the collection to be stored in the new museum. The museum was also intended to provide a venue for exhibitions of the work of the San Francisco school of Abstract Expressionism; the artists who taught them, including Mark Rothko and Clyfford Still; the artists who inspired Diebenkorn, including most notably Henri Matisse; as well as contemporary works of painting and architecture inspired by Diebenkorn’s works. Students responded to four themes in Diebenkorn’s works: 1) He was highly responsive to the place in which he worked, and his works carry the name of the cities in which he WashU Approach

painted them; Albuquerque, Berkeley, and Ocean Park, etc. 2) The layering of the landscape was an inspiration for Diebenkorn, and the studio program involved the design of a naturally top-lit gallery and a garden. 3) Diebenkorn’s canvases in the Ocean Park series were scaled to his own reach, and the painter’s bodily scale was engaged in the museum design. 4) The studio emphasized constructing the gallery as a subtle and understated interior place, focusing visitors’ attention is the paintings and the spatial layers they contain, not the architectural form. This studio engaged with three fundamental pedagogical intentions: 1) From its very beginning, one of the fundamental characteristics of Modern architecture has been its sharing of ordering ideas and perceptual insights with the other Modern arts. 2) What matters in architecture is not what a building looks like, but what a building is like to be in, to live in—how it is experienced in inhabitation by many people over many years. 3) Every architectural project should be understood as an addition to and restoration of a pre-existing inhabited context—urban, suburban, or rural.

250

Bob Inapanuri

Master of Architecture

251

500–600 Comprehensive Options Studio In Zenithal Light

WashU Approach

Robert McCarter

252

SP22

Bob Inapanuri

Master of Architecture

253

500–600 Comprehensive Options Studio In Zenithal Light

WashU Approach

Robert McCarter

254

SP22

Bob Inapanuri

10 11

1. Entry hall 2. Bookstore 3.Education gallery 4. Restrooms 5.Elevator lobby 6.Gallery 1 7. Print Gallery 1 8. Gallery 2 9. Print gallery 2 10.Gallery 3 11. Covered outdoor space 12.Walled garden 13. Cafe

First floor plan

Master of Architecture

Scale: 3/32” - 1’0”

255

500–600 Comprehensive Options Studio In Zenithal Light

WashU Approach

Robert McCarter

256

SP22

Shannon O’Donnell

Master of Architecture

257

500–600 Comprehensive Options Studio In Zenithal Light

WashU Approach

Robert McCarter

258

SP22

Kee-young Jung

Master of Architecture

259

500–600 Comprehensive Options Studio

Derek Hoeferlin Associate Professor

SP22

Beyond Walls… Toward Ensembles “Ex-Situ” [literally meaning “off-site” conservation] – “…is the technique of conservation of all levels of biological diversity outside their natural habitats through different techniques like zoo, captive breeding, aquarium, botanical garden, and gene bank.” —Mohammed Kasso Geda, “Ex Situ Conservation of Biodiversity with Particular Emphasis on Ethiopia” (Biodiversity, 2013) “The institutions now carrying a good part of the ex situ burden—zoos and botanic gardens—were born in the context of colonial expansion, and have long served as trading houses and display cases of European imperial powers.” —Anna-Katharina Laboissière, “Collect, Save, Adapt: Making and Unmaking Ex Situ Worlds” (Cultural Studies Review, 2019) Biodiversity Farms in the Páramo Region of Colombia This Comprehensive Options Studio guided students to better understand how architecture—either permanent, temporary, or both—can better engage various site conditions, such as topographies, climates, water managements, materials, and tectonic and structural approaches, and ultimately, multiple scales and social fabrics. As part of a Living Earth Collaborative grant from Washington University, I have WashU Approach

been collaborating with Iván Jiménez from the Missouri Botanical Garden and his colleagues in the Andes in Colombia, to research new concepts of biodiversity farms in the Páramo region. Students in this studio assisted these efforts through re-engaging and re-defining a new notion of “ex-situ” by keeping the conservation research within the Páramo and local campesinos. More specifically, as the above quotes reference and as two institutions that have arguably emerged from a similar lineage of colonial expansion, they considered what it means for our institutions, and by extension us as architects, to flip the script on this complicated history? Hoping to dislodge some of this legacy, we imagined Páramo biodiversity farms as botanical gardens and architecture, beyond walls, managed by campesinos. Students engaged a series of practical needs for the farm site, proposing not just practical, but also beautiful, useful, and optimized architectural possibilities, ranging from new construction types, both permanent and temporary; adaptive re-use options; tactical infrastructural site interventions; site access and circulation improvements; and landscape, terracing, and water-management strategies.

260

Shangyu Su

SITE PLAN 1”=16’

Master of Architecture

261

500–600 Comprehensive Options Studio Beyond Walls

Derek Hoeferlin

SECTION 2-2 1”=4’

SECTION 1-1 1”=4’

WashU Approach

262

SP22

Shangyu Su

Master of Architecture

263

500–600 Comprehensive Options Studio Beyond Walls

WashU Approach

Derek Hoeferlin

264

SP22

Alex Lyu

Master of Architecture

265

500–600 Comprehensive Options Studio Beyond Walls

WashU Approach

Derek Hoeferlin

266

SP22

Alex Lyu

Master of Architecture

267

500–600 Options Studio

Hongxi Yin InCEES Associate Professor

The SMOOTH House An Action to Global Urgency in Climate Change and Public Health For the 2023 Solar Decathlon Build Challenge, Team WashU’s students and faculty will construct a carbon neutral home for residents requiring occupational therapy titled, “the SMOOTH House,” or, the SMart hOme for Occupational THerapy. Located on Delmar Blvd. in St. Louis, MO, the house will act as a sustainable home and future clinic for St. Louis residents to recover from and rehabilitate daily motor functions after stroke. To accomplish its design goals in carbon neutrality and occupational therapy, the SMOOTH House will include a solar envelope to generate renewable energy, and an accessible tour route to consider the many differently abled paths that inhabitants may take throughout the home.

WashU Approach

268

SP22

Yulia Morina

Master of Architecture

269

500–600 Options Studio The SMOOTH House

WashU Approach

Hongxi Yin

270

SP22

Madeline LaPointe James Madary Marshall Karchunas

Master of Architecture

271

500–600 Options Studio The SMOOTH House

WashU Approach

Hongxi Yin

272

SP22

John Buzbee

Master of Architecture

273

Ramon Bosch & Bet Capdeferro SP22 Ruth & Norman Moore Visiting Professors

500–600 Comprehensive Options Studio

Weight and Soul

Barcelona Semester Study Abroad In the 2022 study abroad studio, Weight and Soul, students got to know the city of Barcelona and its history through a new intervention of a magnificent building. The need to understand the built city as the starting point for the architect’s task is increasingly evident, especially in the European context. The proposed exercise entailed increasing the height of a unique building to host a public program linked to the university. At the end of the 19th century, the celebration of the Universal Exposition allowed for the reconsideration of the urban area occupied by the military citadel built by the Bourbon army in 1714. To guarantee the irrigation of the new urban park, a building inspired by Roman cisterns was designed as a support structure for a large, elevated water tank. The solemnity of the space provided by this imposing structure currently houses the Pompeu Fabra University library. It is one of the most spectacular places in the city yet is unknown to the majority of residents and tourists. Magnificently rehabilitated at the end of the 20th century and freed from its original function, the building maintains its infrastructural character, offering the possibility to increase its height thanks to the unusual resistance of the existing structure, which is designed to support the weight of more than 10,000 tons of water 20 meters above the ground. Appealing to the attitude of the 21st-century architect, who understands the existing reality as WashU Approach

an available resource and the need for environmental responsibility, proposals for expanding the building needed to incorporate passive strategies and low-impact materials and construction technologies, like engineered timber. The implacable logic of the isotropic structure sets up strong parameters on which to imagine the new intervention, which must also consider contextual issues, such as its orientation, the prevailing winds, and the neighboring urban fabric. Since the very first steps of the process, students were required to superimpose layers in their drawings as a method to demonstrate the relationship of the new proposal with the existing building, as well as the evolution of the exercise throughout the semester. The final result aimed to understand architecture as a complex discipline capable of overcoming ancient dichotomies, such as logic and poetry, generic and specific, past and future, and weight and soul.

274

Jacqueline Traudt

Master of Architecture

275

500–600 Comprehensive Options Studio Weight and Soul

WashU Approach

Ramon Bosch & Bet Capdeferro

276

SP22

Jacqueline Traudt

Master of Architecture

277

500–600 Comprehensive Options Studio Weight and Soul

WashU Approach

Ramon Bosch & Bet Capdeferro

278

SP22

Jacqueline Traudt

Master of Architecture

279

500–600 Comprehensive Options Studio Weight and Soul

WashU Approach

Ramon Bosch & Bet Capdeferro

280

SP22

Nick McIntosh

Master of Architecture

281

500–600 Comprehensive Options Studio Weight and Soul

WashU Approach

Ramon Bosch & Bet Capdeferro

282

SP22

Nick McIntosh

Master of Architecture

283

616

Degree Project Comprehensive Studio

WashU Approach

284

Instructors FA20–SP22 Chandler Ahrens (Coordinator FA20) Julie Bauer Wyy Brown Sung Ho Kim (Coordinator SP22) Philip Holden (Coordinator SP21) Anna Ives Adrian Luchini (Coordinator FA21) Dennis McGrath Allison Mendez

As the differences between architectural practice and architectural education diminish, it is important to recognize this situation as not just a challenge but an opportunity. The discipline of architecture must be understood as an arena where speculation and compromise with the real world are compatible, necessary parameters, rather than antagonistic forces prohibiting interaction. For the Degree Project, each student spends one semester conceiving of a design proposal and their final semester implementing it. They work closely with select faculty experts to enhance their knowledge and embolden their future practices. First and foremost, the faculty want the students to be licensed to dare, to test, to inquire, and to propose. Though these are individual initiatives, a common thread unites their intellectual efforts. Collectively, they represent a persistent operation to scrutinize, evaluate, and tackle pressing issues of the contemporary city. Our own location in St. Louis has proved an exciting territory for this compendium of projects, fostering exploration at various scales and with multiple programs and users. It offers a clear opportunity for thoughtful analysis of place and condition. As the culminating architectural studio, the Degree Project is a vivid, powerful statement of our deepest belief that architecture can, optimistically, make important contributions for a better world.

Master of Architecture

285

Chandler Ahrens Associate Professor

616 Degree Project

Contactless. Movie theaters in a post pandemic world Zheyi Yuan How can we conceive a new model for a movie theater in the post-pandemic world? Located in the Grand Center where many traditional cultural spaces are concentrated, the drive-in theater and private movie theater are combined in this project to provide a socially dynamic space that provides people with multiple choices of watching movies. The screen of drive-in theater faces the corner of Delmar Ave and Grand Blvd where people passing by can see the activities and movies. In terms of the private movie theater, there is a large open-air lobby in the center that connect a series of individual buildings connected by the stairs and bridges. The private rooms are for small groups of 5-20 people and each has kitchen and restroom, so people could do all activities in one space. There is no enclosure around the open-air lobby space, everybody has access. A fabric roof connects the whole complex while protecting the lobby from rain. The very thin tension structure roof produces a strong contrast to the massive theater buildings, emphasizing the dialog between the collective and the individual.

WashU Approach

286

FA21

Master of Architecture

287

616 Degree Project Contactless

WashU Approach

Chandler Ahrens

288

FA21

Zheyi Yuan

Master of Architecture

289

616 Degree Project Contactless

WashU Approach

Chandler Ahrens

290

FA21

Zheyi Yuan

Master of Architecture

291

Chandler Ahrens Associate Professor

616 Degree Project

Fun and Focused Yuzhu Wang The Covid-19 pandemic spotlights the importance of caring for people’s physical and mental health. It exposed the necessities of physical activities, mental relaxation, and ample space for socially distanced gatherings. The pandemic also made the whole world an experimental site by pushing tens of millions of people to work from home. People who can do their jobs remotely save time commuting, have better work–life balance, and increase productivity and performance, but are also faced with challenges, like distractions at home, difficulties in collaborating and communication, staying motivated, and unplugging after work. What will be the future workplace look like? Can we rethink workplace design to blend socially distanced gathering with the benefits of working at home by permeating the playscape into the workplace and providing support services for family members? The fun, easily accessible playscape motivates people to move without the pressure of exercising, while the day care center and library partially relieve the distraction of caring for children and seniors.

WashU Approach

292

FA21

Master of Architecture

293

616 Degree Project Fun and Focused

WashU Approach

Chandler Ahrens

294

FA21

Yuzhu Wang

Section B 1/8”=1’-0”

Second Floor Plan Scale: 1/16"=1'-0" 0 2'

15'

5. Phone Booth / Meditation 7. Library 11. Open workspace 12. Enclosed workspace 13. Meeting room

Master of Architecture

295

616 Degree Project Fun and Focused

WashU Approach

Chandler Ahrens

296

FA21

Yuzhu Wang

Master of Architecture

297

Chandler Ahrens Associate Professor

616 Degree Project

Agricultural Transit Center Yuejia Ying The United States is the largest agricultural exporter in the world. It trades hundreds of millions of agricultural products, from soybeans to cotton, every year. Behind this global trading market, massive agricultural production has created many environmental problems associated with land pollution and water eutrophication. It also fails to respond to a variety of local needs, including community needs, as well as medical and genetic research needs. Many companies, including Amazon, have started establishing on-call agricultural product delivery systems with new advanced technologies in planting automation, pesticide control, and datadriven equipment that allow agricultural production to meet the diversity of requirements. As automation becomes an inevitable trend in the future of agriculture industry, this project introduces a production–research–delivery system based on the interaction between humanity and machinery, and how this relationship would affect future architecture.

WashU Approach

298

FA20

Master of Architecture

299

616 Degree Project Agricultural Transit Center

WashU Approach

Chandler Ahrens

300

FA20

Yuejia Ying

Master of Architecture

301

616 Degree Project Agricultural Transit Center

WashU Approach

Chandler Ahrens

302

FA20

Yuejia Ying

Master of Architecture

303

Julie Bauer Senior Lecturer

616 Degree Project

Play-Alley —The Enclave of Informality Shuyan Wang St. Louis’ back alleys seem to be leftover spaces but are in fact actively used in an informal way compared to the front sides of houses. Children occupy the alleys after school as a playground that brings out their creativity in free play. This project brings the spatial qualities of the back alley to a children’s after-school play and care center. The design focuses on “free” and “explore,” which translate into an intertwining system of “open plan” and “play-alley.” The two systems provide two ways of circulating and moving around the building. “Play-alleys” connect “open plan” spaces in playful ways: going up and down or in and out of the building using slides, ramps, ladders or …. The unexpected scale and connection of the spaces allow children to run around, climb through, and sit upon the building without supervision. Polycarbonate, timber, and high-saturation colors are mixed together into a welcoming and inspiring place for children.

WashU Approach

304

FA20

Master of Architecture

305

616 Degree Project Play-Alley—The Enclave of Informality

WashU Approach

Julie Bauer

306

FA20

Shuyan Wang

Master of Architecture

307

616 Degree Project Play-Alley—The Enclave of Informality

WashU Approach

Julie Bauer

308

FA20

Shuyan Wang

Master of Architecture

309

Julie Bauer Senior Lecturer

616 Degree Project

FA20

The Rewilding Jiayi Wu With rapid urbanization, the interaction between cities and the biological life Viewbecome in 2020 cycle and earth’s resourcesSite has more intense. In St. Louis, urban sprawl is invading natural habitats, creating artificial boundaries for human territory. As industrial areas have moved out of the urban center, many workers and residents have followed. Increasingly abandoned architecture becomes interspersed with wildlands View in 2008 throughout the urban areas,Site nature restoring itself over time. Human territory creates the boundary between the city and nature and vacant land; rewilding erodes the urban district. The Rewilding Project is located at the historic Pruitt-Igoe site. Eons ago, the PruittIgoe site was covered by natural systems. It was highly developed in the 1950s. And Historic Pruitt-Igoe Plan in 2020 has been rewilded and covered by a forest. This project attempts to map the history of this site and connect the composition of rewilding.

WashU Approach

310

2020

2008

1950

Master of Architecture

311

616 Degree Project The Rewilding

Julie Bauer

FA20

TYPOLOGY 1 9’6”

9’6”

SECTION 1/4” = 9’6”

9’6”

POLOGY 2 Solar Panel

18’

13‘

2“ Wood Flooring Composite Pipe Sealant Wool Insulation 2” Plywood 1’ Wood Structure Beam

WashU Approach

312

SECTION 1/4” = 1’-0

Jiayi Wu

SECTION

POLOGY 3

SECTION 1/4” = 1’-0’

Master of Architecture

313

616 Degree Project The Rewilding

WashU Approach

Julie Bauer

314

FA20

Jiayi Wu

Master of Architecture

315

Philip Holden Senior Lecturer

616 Degree Project

A Democratic Courthouse Yongdi Li Justice buildings in the United States are often unwelcoming and intimidating, which is not a positive architectural way to represent a democratic society. Beginning from a humanistic point of view, this project proposes a courthouse that more fully conveys social justice and democracy. Originally inspired by the Pnyx—the courthouse of ancient Athens, which is simply a stone platform open to all citizens—this project combines the quality of a totally public space embodying the democratic ideal with the complicated and strict requirements of program, circulation, and security control necessary in a contemporary justice facility. Spatial quality and human interaction are furthered throughout the interior by clarifying the interrelationships of judicial quarters, the courts, and public spaces. The formal expression of the architecture gives a clear sense of the dynamic interaction and interdependence of these same three volumetric types—accommodating the judges, the courts, and the people—leaning toward and buttressing each other. The open ground between is a shared space, also recalling the Pnyx.

WashU Approach

316

FA20

Master of Architecture

317

616 Degree Project A Democratic Courthouse

WashU Approach

Philip Holden

318

FA20

Yongdi Li

Master of Architecture

319

616 Degree Project A Democratic Courthouse

WashU Approach

Philip Holden

320

FA20

Yongdi Li

Master of Architecture

321

Adrian Luchini FA20 Raymond E. Maritz Professor of Architecture

616 Degree Project

Chesterfield Pier: On the Edge of the Edge Ethan Chiang Chesterfield Pier is a speculative office-type project located in the seasonal wetland area of Chesterfield, Missouri, a rapidly growing settlement on the outskirts of St. Louis. The project intends to metaphorically represent a pier that extends across all the diverse conditions present on the site, from the settlement’s edge to the natural surroundings. The design approach offers a sense of intimacy between nature and the people who work under the same canopy. It takes full advantage of the beautifully dynamic conditions found on the site, including the levee, floodplain, retaining pond, forest, and riverbank. The material selection and spatial design of the project are carefully tailored to respond to the site’s unique conditions. Each aspect of the space is designed to be celebrated, allowing every moment within it to be appreciated. Although the pier’s geometry is simple, it achieves spatial complexity and sophistication through thoughtful design.

WashU Approach

322

Master of Architecture

323

616 Degree Project Chesterfield Pier

WashU Approach

Adrian Luchini

324

FA20

Ethan Chiang

Master of Architecture

325

616 Degree Project Chesterfield Pier

WashU Approach

Adrian Luchini

326

FA20

Ethan Chiang

Master of Architecture

327

Julie Bauer Senior Lecturer

616 Degree Project

SP21

Confluence of City and Industry Ryan Do CONCEPT DIAGRAM

Although the St. Louis riverfront appears to be mostly desolate and vacant, it is actually brimming with industrial activity that revolves around the barge trade industry. The barges that carry goods down RAM the Mississippi River are an important component of the city’s economy; however, these industrial typologies have restrictive 01. Remove existing flood wall boundaries that often impede public access to the riverfront. Therefore, this CONCEPT DIAGRAM project seeks to celebrate and educate the public about the significance of the barge trade industry, while designing a port that integrates industrial operations and public circulation to the riverfront. The programs exist between the infrastructure of the port 01. Remove existing flood wall 02. Grains bins and rail line system and bringing visitors in adjacency to daily port activities.

CONCEPT DIAGRAM

02. Grains bins and rail line

01. Remove existing flood wall

03. Bridging connections between the silos

04. Public program extruding from silos

05. Greenway connection and walkable levee

01. Remove existing flood wall

02. Grains bins and rail line

04. Public program extruding from silos

Public program extruding from silos

WashU Approach

05. Greenway connection and walkable levee

06. Raised topography

04. Public program extruding from silos

05. Greenway connection and walkable levee

328

STRUCTURAL DIAGRAM

Greenway Connection

Program Blocks

U-Glass Shell

Structural Members

Master of Architecture

329

616 Degree Project Confluence of City and Industry

WashU Approach

Julie Bauer

330

SP21

Ryan Do

Master of Architecture

331

616 Degree Project Confluence of City and Industry

WashU Approach

Julie Bauer

332

SP21

Ryan Do

Master of Architecture

333

Julie Bauer Senior Lecturer

616 Degree Project

Reconstructing Permanence Marco Pinheiro Old North St. Louis is a beautiful, resilient neighborhood that has been plagued by vacancy and abandonment like many other neighborhoods in the city. This artist residency will create a new social anchor at the edge of the 14th Street commercial district where visiting artists will live and collaborate with neighbors and community organizations. The building brings back the scale, rhythm, materiality, and density of a once thriving neighborhood informed by historical Sanborn Fire Insurance Maps that ground this new building to its historical context. The existing surrounding buildings, sidewalks, and alleys inform the structure, circulation, and scale of the building, making it open and accessible to all community members. The building is constructed with a solidity that will make it a permanent staple of the neighborhood that can adapt interior spaces and program to the changing social needs of the neighborhood.

WashU Approach

334

SP21

Master of Architecture

335

616 Degree Project Reconstructing Permanence

WashU Approach

Julie Bauer

336

SP21

Marco Pinheiro

Master of Architecture

337

616 Degree Project Reconstructing Permanence

WashU Approach

Julie Bauer

338

SP21

Marco Pinheiro

Master of Architecture

339

Phillip Holden Senior Lecturer

616 Degree Project

Dérive Theater Chenyang Gao The concept for this project is inspired by Guy Debord’s Theory of the Dérive. Debord argues that our experience of a city or place is what it actually looks like in our mind. We then apply this theory to architecture, which means our unique experience of the building will enhance our memory and perception of the building. The theoretical basis for organizing the interior space and redefining the theater considers the experience of different groups of people overlaid in the same space: the theater goers, the creative cast, and the technical staff. Next, the definition of the theater space itself is extended to include all spaces within the building: rehearsal areas, shops, exhibitions, seating, and stage. The seating and stage are a variable arrangement in both plan and section, given over to the needs of the director. The administration and workshop spaces are placed on the top and bottom of the building, the seating and stage(s) are open to the site and visitors, and a variety of public spaces overlap the auditorium to generate a new type of space. Through these two operations, a new, expanded theater space is created.

WashU Approach

340

SP21

Master of Architecture

341

616 Degree Project Dérive Theater

WashU Approach

Philip Holden

342

SP21

Chenyang Gao

Master of Architecture

343

616 Degree Project Dérive Theater

WashU Approach

Philip Holden

344

SP21

Chenyang Gao

Master of Architecture

345

Phillip Holden Senior Lecturer

616 Degree Project

Poro(City) Anthony Iovino Situated just south of the St. Louis Gateway Arch grounds along the Mississippi River, this proposal aims to dissolve the divorced relationship and hard edge between city, river, and people that has developed over time by introducing physically and socially porous recreational opportunities. Founded on ideas of connectivity and permeability, the City of St. Louis is now known for its local divisions and barriers, partially caused by the buildup of entangling transportation infrastructure and NIMBY (not in my backyard) program allocation. This recreational facility celebrates both the river and infrastructure, no longer using them as barriers to the city and its residents but instead as a physical and social connector. The project welcomes the river into the site to create a safe place for kayaking, while interior programs such as swimming, rock climbing, locker rooms, and the café occupy portions of the superstructure above to protect from potential flooding. The existing Mississippi Greenway is extended up and through the building to the pier-like roof and connects to the upper deck of the MacArthur Bridge, ultimately spanning across the adjacent Interstate 44 and into the LaSalle Park neighborhood— physically connecting the river and city.

WashU Approach

346

SP21

Master of Architecture

347

616 Degree Project Poro(City)

WashU Approach

Philip Holden

348

SP21

Anthony Iovino

Master of Architecture

349

616 Degree Project Poro(City)

WashU Approach

Philip Holden

350

SP21

Anthony Iovino

Master of Architecture

351

Adrian Luchini Raymond E. Maritz Professor

616 Degree Project

Urban Strata: A Possibility for Dwelling Spaces in an Urban Scenario Zhengwei He St. Louis is a highly suburbanized city. When residents moved from the city to the suburbs, many downtown spaces were turned into parking spaces to serve people traveling by private vehicles. Since 2000, many efforts have been made to revive downtown St. Louis, but most of the strategies involved reusing historic office buildings as apartments; the choice of residential types is limited. As a response to this situation, I intentionally chose the site of East Kiener Plaza Garage—located by the axis of downtown St. Louis—and propose inserting dwelling spaces with suburban characteristics into the urban scenario. The design includes renovating the existing garage and adding a residential tower above it. By isolating the two entangled circulations inside of it, the garage is separated into two parts: the parking space and the public space. The tower, which I call “urban strata,” consists of a series of platforms constructed by trusses and suspension systems. Instead of providing fixed dwelling units, the platforms give residents privately owned parcels and the opportunity to build their own living spaces. WashU Approach

352

SP21

Master of Architecture

353

616 Degree Project Urban Strata

PLATFORM WITH 4 PARCELS

Adrian Luchini

SP21

UNIT 1F

GROUND FLOOR 1. School Lobby 2. Residence Lobby A 3. Residence Lobby B 4. School Courtyard 5. Restaurant

6. Grocery Store

WashU Approach

354

Zhengwei He

UNIT 1F

UNIT 2F

UNIT 3F

STANDARD FLOOR PLAN A

STANDARD FLOOR PLAN B

FLOOR FORM - From slope to platform

Master of Architecture

355

616 Degree Project Urban Strata

Adrian Luchini

Sample Unit Section

WashU Approach

356

SP21

Zhengwei He

Master of Architecture

357

616 Degree Project

Adrian Luchini Raymond E. Maritz Professor

In Praise of Oddity Rubo Sun This project aims to serve as a destination for citywide unsalable products. By reconsidering the relationship between the goods, the static space they take up, and the customers , the floating occupiers of buildings, it reiterates the term “market” by providing an immersive shopping experience to visitors, as well as reconstructing the logistics process.

WashU Approach

358

FA21

Master of Architecture

359

616 Degree Project In Praise of Oddity

WashU Approach

Adrian Luchini

360

FA21

Rubo Sun

Master of Architecture

361

616 Degree Project In Praise of Oddity

WashU Approach

Adrian Luchini

362

FA21

Rubo Sun

Master of Architecture

363

Sung Ho Kim Professor

616 Degree Project

SP22

Artistic Practices Center Patrick Hatheway Based at the former Lemp Brewery, this project roots its program and spatial conceptions in local conditions. The Lemp Brewery is located on Cherokee Street, which can be broken in two distinct sections—East and West of Jefferson Ave— and it is an important facet of a vibrant and historical community in the south city. The eastern portion, lined with antique shops and well-kept historical row houses, is deeply connected with relics of the past. The west has a more lively, diverse commercial and cultural scene, with many creative practices and events due to a recent artistic and cultural renaissance. This project seeks to join these conditions into one building that encompasses spaces for all aspects of the artistic practices: from the making of art to the viewing of art. Building on the inherent solid-void relationship of the brick silos, the project creates space through the act of carving, developing a secondary solid-void relationship. This process results in two different spaces: one inserted within the volumes of the silos, and one breaking the silos. The carved space organizes the museum galleries while the spaces inserted into the silos accommodate a variety of different programs, namely suspended pods occupied by the studios of resident artists.

WashU Approach

Embedded in this project is the concept of time. Steel plates mark intersections between the new and the existing, thus creating a transhistorical approach to the structure of the intervention. These moments illuminate a distinction between time periods, but also a continuation: the carvings make possible the proposed use. This adaptive reuse offers continuity and gives further value to the built fabric of the historic Lemp Brewery.

364

GALLERY VOID 6TH FLOOR

GALLERY VOID 5TH FLOOR

Additions? or Subtractions?

GALLERY VOID 4TH FLOOR

ENTRY VOID GROUND FLOOR

PROCESS DIAGRAMS

Master of Architecture

VOID DIAGRAM

365

616 Degree Project Artistic Practices Center

Sung Ho Kim

SP22

A 6

ENTRY

1. ENTRY 2. RECEPTION/TICKETS 3. COAT CHECK 4. STORAGE 5. BATHROOM 6. FABRICATION SHOP 7. OUTDOOR SHOP 8. PLAZA 9. GALLERY 10. ARTIST EXHIBITION 11. ARTIST STUDIO 12. OFFICE

GROUND FLOOR PLAN

3/16” = 1’- 0”

WashU Approach

366

Patrick Hatheway

10 11

UP DN 10 11

DN 11

1. ENTRY 2. RECEPTION/TICKETS 3. COAT CHECK 4. STORAGE 5. BATHROOM 6. FABRICATION SHOP 7. OUTDOOR SHOP 8. PLAZA 9. GALLERY 10. ARTIST EXHIBITION 11. ARTIST STUDIO 12. OFFICE

11 10

UP DN

FOURTH FLOOR PLAN

3/16” = 1’- 0”

Master of Architecture

367

616 Degree Project Artistic Practices Center

WashU Approach

Sung Ho Kim

368

SP22

Patrick Hatheway

Master of Architecture

369

Allison Mendez Lecturer

616 Degree Project

SP22

River Loop: Water Sustainability Through Innovation Kazuya Yamada This project proposes a water purification plant with multiple marine activities along the Missouri River in Weldon Spring, Missouri. The current riverfront is susceptible to windstorms and flood damage, and the river is polluted by runoff. This project uses active and passive purification systems to handle the environmental issues, and also encourages public use of the riverfront and better understanding of its environmental issues and infrastructure system. The project seeks to promote well-being through the abundance of water while putting safeguards in place for the reality of flooding. As a design process, four elements related to hydraulic phenomenon are extracted from existing buildings: reflection of lights, changing movement lines, correspondence of materials, and perception of water flow. Combining conceptual models based on these elements and analysis of passive water purification systems, a stepping hardscape naturally oxidizes and purifies water. The resulting design pulls from several of these studies, harmoniously tying these systems together with similar forms. A series of large water pools are designed WashU Approach

as circles for better aeration as a matter of practicality but also as an evolution of, rather than departure from, traditional water treatment plants. The pools are wrapped by landscaping that filters and slows water run-off and plantings that actively clean the water before it can enter the pools. Also surrounding the pools are buildings designed using a stepped facade that further cleans the water by precipitation and aerobic respiration. The form of the stepped filters is also reflected in the design of retaining walls, exterior stairs, interior seats, and benches. Taking advantage of the existing topography, many programs are partially hidden underground, and those that do not need natural light are entirely buried to allow more vegetation at the surface level, as well as to slow down and clean water run-off. All systems and buildings are interconnected and harmonious with the surrounding landscape, encouraging people to visit this water purification center and learn more about this infrastructural process.

370

Master of Architecture

371

616 Degree Project River Loop

WashU Approach

Allison Mendez

372

SP22

Kazuya Yamada

Master of Architecture

373

616 Degree Project River Loop

WashU Approach

Allison Mendez

374

SP22

Kazuya Yamada

Master of Architecture

375

Seminars Selection

WashU Approach

376

Xinfei Tao

Architectural Representation I Architectural Representation II Fabricated Drawings Precarious Structures: Composition /Anti-Composition Precast Concrete Enclosures Architecture Portfolio Design Advanced Building Systems NOMA National Design Competition: Embodying Legacy Body as Site: Jewelry as Architecture Digital Ceramics

Informing and enriching the studio experience for students in the Master of Architecture program are courses in architectural history and theory, building technology and structural principles, urban design, professional practice, and representational and digital media studies. Great emphasis is placed on a student’s ability to integrate and synthesize the information in these courses into appropriate architectural form in the design studio.

Master of Architecture

377

Seminar

Kelley Van Dyck Murphy Assistant Professor

Jess Vanecek Lecturer

Architectural Representation I Operative Drawings Communication within the disciple of architecture takes its form through representation. This course explored current concepts, techniques, and methods of representation in architecture. With a focus on operative techniques, students investigated the working relationship between 2D and 3D data, while exploring the conceptual potential of analytical and representational techniques. Course work focused on the interrelationship of representational methods, geometry, and material systems as fundamental drivers of the design process. Identifying representational logics as a generative tool was emphasized. Students were encouraged to think systematically while considering the relationships between formal devices, geometry, and tectonics. The first half of the semester focused on the development of a digital precedent model where students investigated tools to mine the analytic and representational capacity of data within the model. During the second half of the semester, operations are actively transformative, and students concentrated on creating and developing a new narrative inspired by earlier decisions regarding representation, visual language, geometric properties, and spatial relationships.

WashU Approach

378

FA20

Megan Gooden

Master of Architecture

379

Seminar Representation I

WashU Approach

Kelley Van Dyck Murphy Jess Vanecek

380

FA20

Yiyu Zhou

Master of Architecture

381

Seminar Representation I

WashU Approach

Kelley Van Dyck Murphy Jess Vanecek

382

SP21

Zhengran Xu

Master of Architecture

383

Seminar

Jonathan Stitelman Senior Lecturer

Aaron Schump Lecturer

SP22

Architectural Representation II In this required seminar, students explore the representation of fields and softness, color, texture, light, and ambiance. Representation can be soft—fields of difference; overlaps and blurs. And softness can be precise: our vision is not hardline, our memories—captured in mental images—are fleeting but describable. Students flex representational techniques and image-making to probe questions of perception, composition, color, abstraction, domesticity, landscape, and architecture. They looked at images and spaces across history and cultures, making space for each of their peers to develop their own visual language. They learned from the world around us. And they developed skills to work productively across media—analog and digital. This seminar covers color, composition, painting precedents, and personal spaces. Image configurations and types are explored with the intention of breaking away from the default format of the rectangular screen. As with Architectural Representation I, this seminar is taught with design studio in mind. The 317 Core Studio introduced structure, tectonics, plan, and section. The 318 Core Studio introduces complex building program and form. The skills developed in this seminar will open possibilities of thinking about building form and use, and the potential for images to support project narratives. Contemporary architectural practice is aided by powerful visualization software. WashU Approach

One can quickly make images that on the surface feel real, but with time, seem hollow. These means of visualization are so strong that they can overpower, and so ubiquitous that they can bring a level of sameness to depictions of architecture. Tn this seminar about images, image making, and narrative, students developed techniques to exceed the capacities of digital tools, subsuming them into a larger repertoire of intentional image-making

384

Grace Whittington

Master of Architecture

385

Seminar Representation II

WashU Approach

Jonathan Stitelman Aaron Schump

386

SP22

Sydnee Strong

Master of Architecture

387

Seminar Representation II

WashU Approach

Jonathan Stitelman Aaron Schump

388

SP22

Cody Heller

Master of Architecture

389

Chandler Ahrens Associate Professor

Seminar

SP21–SP22

Fabricated Drawings This seminar focused on digital fabrication tools, techniques, and image theory to uncover new methods of producing physical drawings. Today, images are built in a myriad of methods using physical media or from data. Physical drawings, as defined in the context of this seminar, transcend a 2D limitation to develop thickness. The increase to 2.5D or 3D opens opportunities to investigate the use of digital fabrication tools to construct drawings. In particular, students focused on the way information technology continues to have a profound effect on the way we perceive our built environment and how we represent it. The images that surround us are becoming increasingly easy to generate through information technology. Access to technology both in terms of digital design and output affords the opportunity to reconceive the nature of images. Images are developed through analog, digital, or hybrid processes. Their generation is a collaborative interaction between intuition and information processes using clearly defined rules. The scientific theoretician, Peter Galison, discusses the tension between intuition and information on the nature of images in the arts and sciences. Images reveal the intricacy of relations and knowledge, but they are simultaneously deceptive because they bypass the mathematics of pure science. The tension in the arts tends to be between the intuitive, interpretive ability of images as representation versus the image as evidence of a computationbased process. Architectural theoretician Mark Linder talks about how images in architecture are moving away from WashU Approach

representations of “something else” toward a more literal and non-idealized result of a procedure. The image is literally the process of making visible the end result of an operation. Therefore, images are the evidence of the process by which they were generated.

390

Xinfei Tao

Master of Architecture

391

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

392

SP21

Xinfei Tao

Master of Architecture

393

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

394

SP22

Marshall Karchunas

Master of Architecture

395

Seminar Fabricated Drawings

WashU Approach

Chandler Ahrens

396

SP22

Peiyu Zhou

Master of Architecture

397

Hans Tursak Visiting Assistant Professor

Seminar

SP22

Precarious Structures: Composition / Anti-Composition Students in Precarious Structures explored the construction of architectural compositions as time-based events using motion graphics, digital physics engines, and renderings. Thematically, this seminar revisits recent episodes in art history that use concepts, such as the formless and the abject, and sculptural representations of junkspace. This trajectory tracks primarily three-dimensional representations of what sculptor Robert Morris calls “anti form” in the Postminimalist art of the 1970s. Precedents extend to contemporary assemblage artists, like Sarah Sze and multimedia artist Cao Fei, as well as a younger generation of figures exploring the behavior and philosophy of “anonymous materials,” such as Josh Kline and Alisa Baremboym. Design exercises utilized digital animation and physical models to make an argument for time-based software as an architectural form-generation-technique. In this, sculptural actions (casting, pouring, piling, welding, etc.) are mimicked in representational space and recast as architectural strategies.

WashU Approach

398

Jae Gwan Lee

Master of Architecture

399

Seminar Precarious Structures

WashU Approach

Hans Tursak

400

SP22

Jae Gwan Lee

Master of Architecture

401

Seminar Precarious Structures

WashU Approach

Hans Tursak

402

SP22

Andrew Foster

Master of Architecture

403

Pablo Moyano Assistant Professor

Seminar

Precast Concrete Enclosures In contemporary construction practice, building enclosures are sophisticated assemblies conceived through complex processes that merge design, science, technology, and craft. The outermost layer of the exterior wall is the most exposed to natural forces and therefore needs careful attention as it must work effectively over the lifetime of the building. The primary goal of this fabrication seminar is the design and construction of full-scale concrete prototypes as performative components of building envelopes. It offers a hands-on experience in which students design, develop documentation, and make panels out of precast concrete. The course is taught in partnership with Gate Precast, a leading company in the precast concrete industry, and is supported by a grant from the PCI Foundation to offset the cost of fabricating the precast mockups. Students participated in the entire fabrication process, including mold preparation, reinforcing, concrete casting, demolding, handling, and finishing of the final panels.

WashU Approach

404

SP22

Xiaofan Hu Jae Gwan Lee

Zachary Ebbers Patrick Hatheway Min Lin

Master of Architecture

Zachary Hantak Patrick Murray Sydnee Strong Grace Whittington

405

Shaoshuai Jiang Jake Madary Qananii Tolera Peter Zhou

Seminar Precast Concrete Enclosures

WashU Approach

Pablo Moyano

406

SP22

Xiaofan Hu Jae Gwan Lee

Zachary Ebbers Patrick Hatheway Min Lin

Master of Architecture

Zachary Hantak Patrick Murray Sydnee Strong Grace Whittington

407

Shaoshuai Jiang Jake Madary Qananii Tolera Peter Zhou

Seminar Precast Concrete Enclosures

WashU Approach

Pablo Moyano

408

SP22

Zachary Hantak Patrick Murray Sydnee Strong Grace Whittington

Master of Architecture

409

Seminar Precast Concrete Enclosures

WashU Approach

Pablo Moyano

410

SP22

Xiaofan Hu Jae Gwan Lee

Master of Architecture

411

Seminar Precast Concrete Enclosures

WashU Approach

Pablo Moyano

412

SP22

Zachary Ebbers Patrick Hatheway Min Lin

Master of Architecture

413

Constance Vale Assistant Professor

Seminar

Architecture Portfolio Design Architecture portfolios play an essential role in framing and presenting work in both academic and professional contexts. More importantly, through the reflective act of re-presenting images and texts, portfolios define an architect’s position and direct the course of their career. Architecture Portfolio Design facilitates the production and development of a comprehensive portfolio and covers the essential concepts and techniques at play in contemporary portfolio production. In this course, each participant examined the structural logic of the portfolio as defined by its format, the threshold of the portfolio through the design of its cover as front door, the space of the page through iterative layout studies of small sections of the portfolio, the portfolio as an object in space though scale models and a final printed portfolio, and the interior space of the portfolio that organizes and sequences information over time.

WashU Approach

414

FA20–FA21

Tiansu Wang

Master of Architecture

415

Seminar Architecture Portfolio Design

WashU Approach

Constance Vale

416

FA20

Tiansu Wang

Master of Architecture

417

Seminar Architecture Portfolio Design

WashU Approach

Constance Vale

418

FA20

Jingpan Zhang

Master of Architecture

419

Seminar Architecture Portfolio Design

WashU Approach

Constance Vale

420

FA21

William Kapp

Master of Architecture

421

Chandler Ahrens Associate Professor

Seminar

FA20–FA21

Advanced Building Systems This required course, the last in the technology sequence, brought previous content to bear on the design of a building that resembles the design process in professional practice. Lectures focused on a large number of precedents, examining in detail the role construction and technology play in building morphology. However, the focus was on construction-based design exploration—the design and details of the frame and envelope of a building in all its aspects, including the structure, its enclosure, active and passive climate control, natural and artificial lighting, and mechanical and electrical services. Rather than follow the conventional methodology of a design development exercise in which a completed schematic design is “developed,” this seminar required a complete design from inception to realization, from concept to window detail. Working in teams of four to six people, students developed the design for a defined building type, choosing from a gymnasium, theater, culinary institute, makerspace, library, or musical hall. Teams also chose pre-defined site types and a city to determine the climate. The goal of this seminar was to develop the form of the building while also considering structure, orientation, envelope, and passive strategies. Simultaneously, the interior environment was considered through structural expression and joinery, daylighting, circulation, program WashU Approach

arrangement, fire and life safety, plumbing, interior finish materials, acoustics, and artificial lighting. The design was developed from the large scale of an entire system down to the detailed understanding of how systems interface through wall sections.

422

Qingshan Hu Junhao Li Rubo Sun Siyu Bai

3 2 4

1. Exterior wall construction: cladding of powder-coated perforated 1.5 inches aluminium sheet. 2. 1-1/2 x 4-1/2 structure channel 3. Window: double glazing in powder-coated aluminium frame with interior glare protection 4. Floor construction: soft vinly tile with foam plastic backing, 1’ thick reinforced concrete slab, 35psf, resilblanket, 1/2” gypsum board 5. 6” gravel 6. Steel v-shaped column structure

Wall Section 3/4” = 1’

Master of Architecture

Axonometric Wall Section 3/4” = 1’

423

Seminar Advanced Building Systems

WashU Approach

Chandler Ahrens

424

FA20

Qingshan Hu Junhao Li Rubo Sun Siyu Bai

Master of Architecture

425

Seminar Advanced Building Systems

WashU Approach

Chandler Ahrens

426

FA20

Qingshan Hu Junhao Li Rubo Sun Siyu Bai

Master of Architecture

427

Seminar Advanced Building Systems

WashU Approach

Chandler Ahrens

428

FA21

Kevin Mojica Mariel Brown Amanda Ridings Yulia Morina Kazuya Yamada

Master of Architecture

429

Seminar Advanced Building Systems

WashU Approach

Chandler Ahrens

430

FA21

Kevin Mojica Mariel Brown Amanda Ridings Yulia Morina Kazuya Yamada

Master of Architecture

431

Seminar Advanced Building Systems

WashU Approach

Chandler Ahrens

432

FA21

Kevin Mojica Mariel Brown Amanda Ridings Yulia Morina Kazuya Yamada

Master of Architecture

433

Melissa Betts Sanders Lecturer

Seminar

FA21

NOMA National Design Competition: Embodying Legacy* Founded in Detroit in 1971 by 12 Black architects, NOMA has grown to include more than 1,400 members in professional and student chapters across the country. The group is committed to fostering justice and equity in communities of color through outreach, advocacy, professional development and design excellence. The competition challenged students to design a “Legacy Headquarters + Resource Center” that would celebrate NOMA’s Detroit roots and its legacy in supporting architects and designers of color. The Sam Fox School plan, titled “Embodying Legacy,” aims to inspire economic growth, physical and mental health, creative living, sustainable environments and new ways of experiencing Detroit. Its proposed Embodying Legacy District would encourage cultural expression by developing education, production and income creation opportunities in the historic Black Bottom and Brush Park neighborhoods, which were displaced by urban renewal and Interstate 375. Detroit is America’s first appointed UNESCO City of Design. The site for this seminar lies within the previous footprint of the Brewster Douglass Project, once a thriving Black community. Although the physical reminders of the historic Black Bottom have been erased with the interstate, Detroit is still immersed in public art. It expresses its voice and messages WashU Approach

through murals, creatives, and music. Art is a powerful thing—it can heal, educate, entertain, attract, and restore. To inspire economic growth, physical and mental health, creative living, sustainable environments, and new ways of experiencing Detroit, the Embodying Legacy District is designed to promote art and creativity. A series of compartmentalized spaces are organized on-site, culminating at the southeast public hub that accommodates the National Organization of Minority Architects (NOMA) headquarters. Public nodes linked via gentle pedestrian passageways establish a modern and highly connected urban topography. The public realm operates as the connective tissue of the whole district, facilitating ease of mobility throughout the site. Architecture often influences the ways in which a person experiences art. It is designed to evoke different senses rooted within the art’s nature—such as sound, touch, smell, taste—and to encourage people to sit, meditate, reflect, remember. We believe this design is a way to celebrate the legacy of a once thriving and vibrant Black Detroit community, creating a new foundation for uplifting emerging leaders, supporting minority groups of all abilities, and restoring communities of color. Students from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis have won the

434

* Winner of the 2021 Barbara G. Laurie Student Design Competition, sponsored by the National Organization of Minority Architects (NOMA)

2021 Barbara G. Laurie Student Design Competition, sponsored by the National Organization of Minority Architects (NOMA). The competition took place during NOMA 50: Detroit Homecoming, the group’s national conference. The students are members of the campus chapter WUSTL NOMA. The faculty advisor was Melisa Betts Sanders, lecturer in architecture. The Sam Fox School team included: Francine Chun Lindsey Compeaux Christa Hua Yuanwan Huang Allen Liang Yulia Morina Eric Wang Hanjia Wang Yuzhu Wang Yuwei Yang Zheyi Yuan Anna Zheng

Master of Architecture

435

Seminar NOMA National Design Competition

WashU Approach

Melissa Betts Sanders

436

FA21

Francine Chun Lindsey Compeaux Christa Hua

Master of Architecture

Yuanwan Huang Allen Liang Yulia Morina

Eric Wang Hanjia Wang Yuzhu Wang

437

Yuwei Yang Zheyi Yuan Anna Zheng

Seminar NOMA National Design Competition

WashU Approach

Melissa Betts Sanders

438

FA21

Francine Chun Lindsey Compeaux Christa Hua

Master of Architecture

Yuanwan Huang Allen Liang Yulia Morina

Eric Wang Hanjia Wang Yuzhu Wang

439

Yuwei Yang Zheyi Yuan Anna Zheng

Seminar NOMA National Design Competition

WashU Approach

Melissa Betts Sanders

440

FA21

Francine Chun Lindsey Compeaux Christa Hua

Master of Architecture

Yuanwan Huang Allen Liang Yulia Morina

Eric Wang Hanjia Wang Yuzhu Wang

441

Yuwei Yang Zheyi Yuan Anna Zheng

Constance Vale Assistant Professor

Seminar

FA20–FA21

Body as Site: Jewelry as Architecture Bodies are the sites of social constructions that are “politically inscribed” and “shaped by practices of containment and control.”1 Corporeal privacy and self-authority are dismantled by the body’s definition in society through “(false) dichotomies:” masculine v. feminine, able-bodied v. disabled, fat v. skinny, heterosexual v. homosexual, young v. old, and across any number of racial and cultural lines. Within the complexity of contemporary body politics, we are faced with another complication: we are all cyborgs. The advent of smartphones and nascency of wearable electronics has augmented our abilities—all without any bodily modification.2 Through the cultivation of a hybrid-cyborg bodily aesthetic, each course participant designed a parure (set of jewelry) that examines the human body as an architectural site and tests the potential of lost-PLA metal casting and tactics of physical interconnection with the human body. 1. Nadia Brown and Sarah Allen Gershon, “Body Politics,” Politics, Groups, and Identities, 5, no.1 (January 2, 2017): 1–3, https://www.tandfonline.com/doi/full /10.1080/21565503.2016.1276022. 2. Benjamin Wittes and Jane Chong, “Our Cyborg Future: Law and Policy Implications,” The Project on Civilian Robotics (Brookings Center for Technology Innovation, September 2014), https:// www.brookings.edu/research/our-cyborgfuture-law-and-policy-implications/. WashU Approach

442

Yuzhu Wang

Master of Architecture

443

Seminar Body as Site: Jewelry as Architecture

WashU Approach

Constance Vale

444

FA20

Yi Wang

Master of Architecture

445

Seminar Body as Site: Jewelry as Architecture

WashU Approach

Constance Vale

446

FA21

Marshall Karchunas

Master of Architecture

447

Kelley Van Dyck Murphy Assistant Professor

Seminar

SP21–FA21

Digital Ceramics The production of ceramic building materials spans individually constructed and handcrafted to industrial and massproduced. Some of the earliest examples of permanent structures include clay-based building components. At the turn of the century, the Hydraulic Press Brick Company in St. Louis was the most innovative brick manufacturer in the world, producing one hundred million bricks per year by 1900. The abundance of clay and the affordability of bricks contributed to the longevity of building stock where even modest homes had ornamental bricks, corbeling, recesses, and extensions. Historically, fired-clay building components were valued for their strength, modularity, resistance to fire, raw material availability, and aesthetics. Ceramic building units are pervasive in their use in the built environment but have been underappreciated in contemporary architecture practice. In Digital Ceramics, students examined new possibilities for masonry and ceramics in architecture through computational design and digital fabrication. Algorithmic design techniques, digital fabrication, and ceramic research were merged to design and produce non-standard ceramic components in aggregated assemblies. Readings, tutorials, and guest lectures focused on innovations in digital technology, digital fabrication, advanced geometry, and material practices. Utilizing a Potterbot ceramic printer, students explored 3D printing with clay. Additional coursework consisted of drying and firing clay components, post-printing physical manipulation, staining and glazing techniques, and clay body research. Digital Ceramics confronts the seemingly WashU Approach

disparate modes of physical making and digital form-giving by introducing a new material system that expands the aesthetic and performative potential of aggregated enclosure assemblies. Recent digital discourse demonstrates the ability for endless variation and customization through parametric design software. This course intends to underscore a thoughtful consideration of the relationship between technology and adaptability. As an alternative to conventional and selfsimilar modular systems, students utilized variability in form to physically interlock parts into a visually cohesive system, using material behavior and calibrated irregularities to make each component unique.

448

Sheng Li

Master of Architecture

449

Seminar Digital Cermics

WashU Approach

Kelley Van Dyck Murphy

450

SP21

Max Pozen

180

90 90

Master of Architecture

451

Seminar Digital Cermics

WashU Approach

Kelley Van Dyck Murphy

452

FA21

Kaiti Burger Ann Dang

Master of Architecture

453

Master of Landscape Architecture Student Work

WashU Approach

454

401 Landscape Architecture Design I Eric Ellingsen 402 Landscape Architecture Design II Micah Stanek 501 Landscape Architecture Design III Derek Hoeferlin 502 Landscape Architecture Design IV L. Irene Compadre 601 & 602 Landscape Architecture Design V-VI L. Irene Compadre Micah Stanek 601 & 602 Landscape Architecture Design V-VI Eric Ellingsen Seminars Alexandra Mei Michael Powell Micah Stanek

2020—2021

455

401

Landscape Architecture Design I Core Studio

WashU Approach

456

Instructor Eric Ellingsen

Play Ground Play Ground was the first-year, first-semester master of landscape architecture design studio. Students were tasked with designing a radical playground for a specific group that focuses on heterogeneous, nonnormative communities, such as for children on the autism spectrum, the Deaf community, wheelchair users, adventure play (the Percy Green playground), and a playground for bees. Raymond Williams reminds us that “to be truly radical is to make hope possible rather than despair convincing.”1 Each design plugged into a specific social history in St. Louis, like Elizabeth Hobbs Keckley (1818–1907), a St. Louis dressmaker, hairstylist, and memoirist who was born into slavery, purchased her freedom, and ended up as dressmaker and confidant of Mary Todd Lincoln. Students also designed a wayfinding system linking their playgrounds to sites across St. Louis with significant cultural histories. The studio partnered with James McAnally of the St. Louis art laboratory, The Luminary, who owns the site where the speculative playgrounds were situated. Due to Covid, the studio was held online across four international time zones, and the concept of “play” took many different dimensions. We read and diagrammed the play A Raisin in the Sun together, reenacted Vito Acconci’s Following Piece, and engaged the Situationist International’s drifting technique—the derive—to spark oblique encounters with the urban fabric of the different public spaces from which we worked. Through critical play, students engaged with hybridized modes of representation, working across digital frameworks, hand-drawing techniques, and physical model making. To help students adapt to this learning modality and learn how to read the place in which we were working, we invited a number of experts— referred to as “Ambassadors of the Why”—to the site. Informal walks and documentary-style video interviews were conducted in which the ambassadors read the site, surroundings, and city, talking about what they see, how they practice, and their own working languages. Ambassadors Master of Landscape Architecture

457

401 Core Studio Landscape Architecture Design I

WashU Approach

FA20

458

Kaiti Burger / Situationist derive

of the Why included: irrigation and waste engineer Jim Davis; librarian, scholar, and activist Miranda Rechtenwald; landscape architect Laurel Harrington; social and community activist Percy Green II; landscape architect Christopher Carl; civil engineer Mark Meyers; curator and client James McAnally; and artist Chloë Bass. 1. Raymond Williams, Resources of Hope (New York: Verso, 1989), p. 118.

Master of Landscape Architecture

459

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen Assistant Professor

460

FA20

Jingyan Wang

Master of Landscape Architecture

461

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen

462

FA20

Niansong Zhang

Master of Landscape Architecture

463

401 Core Studio Landscape Architecture Design I

WashU Approach

Eric Ellingsen

464

FA20

Niansong Zhang

Master of Landscape Architecture

465

402

Landscape Architecture Design II Core Studio

WashU Approach

466

Instructor Micah Stanek

Some modes of landscape architecture preserve historical values while others pursue emerging values. Some public spaces especially represent how values change over time, due to the rapid transformation of urban renewal. One such space is the Gateway Mall in St. Louis, the string of small parks that extends westwardly from the Gateway Arch. Solidified in the monument by Eero Saarinen and the park by Dan Kiley is the celebration of American “Manifest Destiny” and the role of St. Louis in that colonial project. Therefore, the Gateway Arch National Park and the Gateway Mall are highly charged landscapes. Many designers and planners have formed and reformed these spaces over generations, communicating shifts in human– environmental relationships over the last century. At the same time, these symbolic landscapes are open for criticism of their colonial history and ripe for new landscape architecture that marks emerging relationships. How might future generations reconfigure these symbols? This studio used the Gateway Mall to question—and perhaps push against—the ideas, symbols, and relationships embedded in this urban renewal gesture and its many layered pieces of landscape architecture. First, students selected one territory from the big ideas, false dichotomies, and human desires/fears that drive change in our field: aesthetics, publicness, monumentality, globalization, futurism, nature, or colonization. Studying the landscape architecture precedents found on this monumental axis supports this theoretical study. Students find harmony and dissonance between the history of landscape architecture and our own “ecological design” era by intersecting these ideas with the values embedded in the Green New Deal: soil health, biodiversity, waste, water systems, decarbonization, sustainable transit, rethinking the urban fabric, local economy, heritage, and inclusivity. Master of Landscape Architecture

467

402 Core Studio Landscape Architecture Design II

WashU Approach

SP21

468

Niansong Zhang

Students became acquainted with St. Louis through a series of GISgenerated, but also imaginative, mappings. In conjunction with studio conversation and critique, these drawings helped students to home in on and hone a site on the Gateway Mall or adjacent to this axis. Next, they produced generative drawings intersecting the big ideas from the history of landscape architecture with the contemporary ideas from the Green New Deal. Conflation, multiplication, re-ordering, and re-scripting helped students experiment with and assess site design in process (over and over again). At midterm review, students tested how their site designs communicate the historical and contemporary values at play in their proposals, determining how their design honors history, challenges problematic notions, or adds new values. When students become more confident about the definition of their site design, they begin grappling with urban connectivity, social contingency, and environmental flows. This adjusts their big ideas and schematic designs once again. By the end of the semester, students developed a site design that intersects the Gateway Mall and occupies some portion of the existing string of parks. The projects may be understood as a counter-axis (more north–south), rhizomatic, or acupunctural. The interventions on this symbolic axis go beyond sculptural monuments. They are site designs because landscape itself can communicate human values. And because landscape is also always more than that, students learn and wield an arsenal of urban components from streetscape design, urban infrastructure, and ecological assemblages in their concepts.

Master of Landscape Architecture

469

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek Lecturer

470

SP21

Chin Pham

Master of Landscape Architecture

471

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek

472

SP21

Chin Pham

Master of Landscape Architecture

473

402 Core Studio Landscape Architecture Design II

WashU Approach

Micah Stanek

474

SP21

Jingyan Wang

Master of Landscape Architecture

475

501

Landscape Architecture Design III Core Studio

WashU Approach

476

Instructor FA20–FA21 Derek Hoeferlin

The overarching purpose for this studio, the third semester core studio for MLA3 students and first semester for MLA2 students, is to introduce landscape architecture students to the importance of situating their studies and future practice of the discipline within a multiscalar understanding of worldwide watersheds. In other words, it can be argued that water is the primary component that drives all other aspects of design. This studio is the bridge from the first year or prior foundational studies and third year advanced studies. This is the second iteration of the WWW studio. The first version, held in fall 2020, developed a comparative atlas of water-based issues across continents of the world—Africa, Asia, Europe, North America, South America, and Oceana. The atlas was organized into various themes (watersheds, territories, topographies, dams, populations) and challenges (agricultures, energies, floods, droughts, pollutions), as well as an understanding of various management structures for watersheds.

Master of Landscape Architecture

477

501 Core Studio Landscape Architecture Design III

Derek Hoeferlin Associate Professor

FA20

In this studio, students developed group comparative atlases at multiple scales to inform individually proposed “transboundary” speculative futures for the Mississippi River Basin by synthesizing objective research with subjective storytelling. More specifically, they focused on how these watersheds are managed and designed—with potentially similar challenges but in radically different contexts along with their conflicting interests—from a trans-boundary point of view. Hopefully, these comparative, global, and multi-scalar understandings fill an existing gap for what our studio believes is a missing comparative context for how the Mississippi River Basin, and its regional Midwestern context, is currently managed. How can the Mississippi River Basin be better managed through design, both physically and policy-wise, in the future to create a more just and resilient built environment? “WWW” participated in the 2020–2021 historic, nationwide The Green New Deal Superstudio.1 Sponsored by the Landscape Architecture Foundation and other partners, Superstudio sought to translate the core goals of the Green New Deal (congressional resolution H.RES.109) into region-specific design and planning projects. But to adequately address the call for “regionspecific design and planning projects,” WWW took the position that designers, and specifically landscape architects, must take a scalar shift back—way back—to the territorial scales of watersheds, continents,

and ultimately, the world. Taking the position that landscape architecture can and should play a leading role in spatializing the Green New Deal, the studio’s ambition was to demonstrate how the Midwest, and by extension the Mississippi River Basin, can be a model for watershed-based environmental, economic, and socially resilient “trans-boundary speculative futures.” While their propositions were speculative, students were expected to develop bold frameworks and templates for spatializing the Green New Deal that were grounded in design-research.

World Wide Watersheds

WashU Approach

478

1 Learn more at www.lafoundation. org/take-action/green-new-deal/ superstudio.

Weicong Huang

Students Weicong Huang and John Whitaker won national honors from the American Society of Landscape Architects (ASLA). Huang received an Honor Award in Analysis and Planning for The Death and Life of Great American Barges. The project explores how a vast network of levees, locks, and dams has impacted the ecology of the Mississippi River Basin—and how the river’s existing system of barge traffic might be deployed to transport trapped sediment and restore damaged wetlands. Whitaker, a lecturer in landscape architecture, as well as a 2020 alum, received the 2021 Award of Excellence in General Design for his Willow Resiliency Project, which proposes a biomass industry cooperative between rural communities and repatriated indigenous populations of the Lower Missouri River Valley. Earlier in 2021, Huang and Whitaker both received student awards from the ASLA St. Louis Chapter and from the Council of Educators in Landscape Architecture. Founded in 1899, ASLA is the professional association for landscape architects in the United States, representing more than 15,000 members. An awards presentation was held as part of the group’s annual conference in November 2021. Recipients were also featured in the ASLA’s Landscape Architecture Magazine.

Master of Landscape Architecture

479

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

480

FA20

Weicong Huang

Master of Landscape Architecture

481

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

482

FA20

Weicong Huang

Master of Landscape Architecture

483

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

484

FA20

Shuya Zhang

Master of Landscape Architecture

485

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

486

FA20

Nanqi Wang

Master of Landscape Architecture

487

501 Core Studio Landscape Architecture Design III

Derek Hoeferlin Associate Professor

World Wide Watersheds Rivers in the Skies, Diversions Across the Lands “All my daydreams are disasters She’s the one I think I love Rivers burn and then run backwards For her, that’s enough” —Uncle Tupelo, “New Madrid” “The world is one big watershed.” —Bruce Lindsey, Professor, Washington University in St. Louis This version of the WWW studio followed a similar format of analysis—storytelling— speculation, but in different formats and contexts. While the fall 2020 atlas primarily relied on plan-based orthographic drawings and mappings, this studio’s first set of analyses were based in section, and not necessarily as objective in format. These sections were worked from far below ground to high up in the sky, not just what’s “visible” on the surface. Students combined both objective research and mapping with experiential and representational exuberance. These informed a more grounded—and less fictional—version for the storytelling, because students collaborated with actual clients who served as our “characters.” Students then combined the two exercises for trans-boundary speculative futures in South America with a focus on the site and region for the client: the Páramo region in the Andes Mountains in Colombia. WashU Approach

488

FA21

Niansong Zhang

Master of Landscape Architecture

489

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

490

FA21

Niansong Zhang

Master of Landscape Architecture

491

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

492

FA21

Jingyan Wang

Master of Landscape Architecture

493

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

494

FA21

Wei Hui

Master of Landscape Architecture

495

501 Core Studio Landscape Architecture Design III

WashU Approach

Derek Hoeferlin

496

FA21

Chinh Pham

Master of Landscape Architecture

497

502

Landscape Architecture Design IV Core Studio

WashU Approach

498

Instructor SP21–SP22 L. Irene Compadre

Cortex: The Green New Campus Cortex: The Green New Campus was part of a historic, nationwide superstudio seeking to translate the core goals of the Green New Deal (congressional resolution H.RES.109) into region-specific design and planning projects. The second studio in a two-semester studio module, building off of the ambitious World Wide Watersheds (WWW) studio taught by Derek Hoeferlin, worked to translate student research into campus and site scale interventions. This St. Louis City-focused studio also tackled the complex and interwoven issues of climate change, environmental degradation, and social inequity through an in-depth study of the existing Cortex campus, a 200-acre “hub of business, innovation, and technology” located in St. Louis’s historic Central West End and Forest Park Southeast neighborhoods. Cortex served as a pilot campus for proposing and spatializing regionally specific “green and blue” design and infrastructure projects with multi-scalar relationships between site, campus, corridor, watershed, and beyond—conceptually tying back into each student’s first semester research. The concepts and dialogue created by this superstudio helped form a cataloged and curated national vision for the GND to support policymakers and advocates and help inform a national conversation on policy and design at a summit convened by the Landscape Architecture Foundation in September 2021.

Master of Landscape Architecture

499

502 Core Studio Landscape Architecture Design IV

WashU Approach

L. Irene Compadre Lecturer

500

SP21

Bowen Chai

Master of Landscape Architecture

501

502 Core Studio Landscape Architecture Design IV

WashU Approach

L. Irene Compadre

502

SP21

Weicong Huang

Master of Landscape Architecture

503

502 Core Studio Landscape Architecture Design IV

WashU Approach

L. Irene Compadre

504

SP21

Weicong Huang

Master of Landscape Architecture

505

601

Landscape Architecture Design V Core Studio

WashU Approach

506

Instructor FA20 L. Irene Compadre

Instructor FA21 Micah Stanek

In the fifth core studio of the MLA 3 program and the third core studio of the MLA 2 program, students engage various aspects of the professional practice of landscape architecture, collaborating with multiple voices in the discipline to better transform previously mismanaged sites into futureforward resilient landscapes.

Master of Landscape Architecture

507

601 Core Studio Landscape Architecture Design V

L. Irene Compadre Lecturer

FA20

This studio is part of a historic, nationwide superstudio seeking to translate the core goals of the Green New Deal into region-specific design and planning projects. Alluding to Missouri’s nickname as the “show me state,” this studio tackled the complex and interwoven issues of climate change, environmental degradation, and social inequity. A 120-acre former strip mine located off the I-70 corridor near Colombia, Missouri, served as a pilot site for proposing and spatializing regionally specific land-based “green” industries and infrastructures. Introduced on February 7, 2019, by Representative Alexandria Ocasio-Cortez of New York and Senator Edward J. Markey of Massachusetts, the GND is a climate-change driven, green-infrastructure proposal for the U.S. government in the spirit of FDR’s 1930sera “New Deal.” Whereas the New Deal consisted of a comprehensive series of acts and programs meant to generate economic stability and workforce protections in the aftermath of the Great Depression, the GND was developed in response to the contemporary climate crisis and shrinking American middle class, issues made even more pressing by the global pandemic and recession. Leaning on the findings from two recent reports by the United Nations and federal scientists that warned of a cascading environmental and economic crisis resulting from global temperature rise, the GND resolves to curb this country’s greenhouse gas emissions and dependence on fossil fuels in a socially equitable way by pairing

green public works projects with labor and wage protections, as well as healthcare reform. The proposition is a call for the federal government to invest in green and sustainable infrastructure, develop clean and renewable energy sources, and guarantee new, high-paying jobs related to these industries. The overarching goal of the GND is to secure “for all people of the United States for generations to come: clean air and water, climate and community resiliency, healthy food, access to nature, and a sustainable environment,” and to promote justice and equity by addressing, preventing, and repairing historic oppression for frontline and vulnerable communities. This studio expanded those definitions to consider human and nonhuman constituents. Taking the position that landscape architecture can—and should—take a leading role in spatializing the GND, this studio’s ambition was to show how Missouri can—and why Missouri should—be a model for land-based environmental, economic, and socially resilient green industry and infrastructure. While student propositions were speculative, they were expected to develop bold, site and regionally specific strategies that are grounded in research and resolved at the site design level. This superstudio contributed to a cataloged and curated national vision for the GND to support policymakers and advocates and help inform a national conversation on policy and design at a summit convened by the Landscape Architecture Foundation in September 2021.

Show Me: The Green New Deal Superstudio

WashU Approach

508

Nicholas Oriss

Master of Landscape Architecture

509

601 Core Studio Landscape Architecture Design V

WashU Approach

L. Irene Compadre

510

FA20

Nicholas Oriss

Master of Landscape Architecture

511

601 Core Studio Landscape Architecture Design V

WashU Approach

L. Irene Compadre

512

FA20

Dongzhe Tao

Master of Landscape Architecture

513

601 Core Studio Landscape Architecture Design V

Micah Stanek Lecturer

The Chicago Sanitary and Ship Canal connects the Great Lakes, the St. Lawrence River, and the Atlantic Ocean to the Mississippi River Watershed, St. Louis, and the Gulf of Mexico. The short distance between two watersheds and subtle topography made it possible to reverse the Chicago River and control water levels. In recent years, though, climate change has caused dramatic swings between drought and flooding in this area. The south fork of the Chicago River and the origin of the Canal is also surrounded by diverse neighborhoods where low-income Chicagoans bear the brunt of flooding, as well as legacy toxicity and contemporary pollution.

“sustainability,” “ecological design,” “environmental justice,” “resilience,” and “climate-positive design.” To avoid greenwashing—where optics are prioritized over meaningful transformational practice— we need a great deal of knowledge. Without critical acuity, we assume heroic “save the planet” stances. If we want to have meaningful impacts, landscape architectural practice ought to be more specific and nuanced with our words, our drawings, and our propositions. How can landscape architecture contribute to the slowing of global warming and the other wicked effects of climate change? Who are our best allies in these pursuits? To take a few steps back, we might ask if landscape architecture is well positioned to deal with the greatest environmental crises we face today. Has landscape architecture dealt with its own relationship to extraction, pollution, and waste? To adapt and innovate landscape architecture practice, we must understand where we are now and how we arrived here. Thus, this advanced studio engaged with Chip Crawford, managing director of Lamar Johnson Collaborative (LJC), to provide a window into allied professionals, a breadth of global landscape architecture

FA21

Confluences: Chicago, Climate Change, and Landscape Architecture

How can we change environments vastly better? And by better, I mean a lot more sustainably but also a hell of a lot more equitably. —Jenny Price, Stop Saving the Planet: An Environmentalist Manifesto (W. W. Norton, 2021, 10) As a response to climate change, landscape toxicity, and social inequity, many landscape architects have turned to or developed lenses like “reclamation,” “remediation,” WashU Approach

514

Shuya Zhang

and planning experience, and a strong connection to the City of Chicago. In this studio, students developed their own theses about Chicago, landscape architecture, and climate change. As a team, they mapped Chicago’s history—from geology to indigenous people’s history, to European colonization and the development of the modern metropolis. Teams also mapped contemporary environmental situations, including droughts, floods, pollution, and social inequity, asking How does climate change relate to these situations? Individually, students studied contemporary projects and measured landscape architecture practice against wicked problems using precedents like the Chicago Riverwalk, Henry C. Palmisano Park, Millennium Park, the Lurie Garden, Maggie Daley Park, and The 606. Utilizing teamwork, students analyzed history and began telling a story about how Chicago ought to plan for the future, working around the south fork of the Chicago River. They chose a site for exploring a design research question and set aims based on the wicked problems and their criticisms of contemporary practice to make climate-positive designs that manage water for drought and flood contingencies, Master of Landscape Architecture

reuse materials, deal with toxic legacies, and add value to vulnerable or marginalized neighborhoods. These landscapes speak to power.

515

601 Core Studio Landscape Architecture Design V

WashU Approach

Micah Stanek

516

FA21

Shuya Zhang

Master of Landscape Architecture

517

601 Core Studio Landscape Architecture Design V

WashU Approach

Micah Stanek

518

FA21

Henyue Liu

Master of Landscape Architecture

519

602

Landscape Architecture Design VI Core Studio

WashU Approach

520

Instructor SP21 Eric Ellingsen

US National Nuclear Parks (Freaked Landscapes) The land was not willed to you by your ancestors. It was loaned to you by your children.”1 “You are not obliged to finish the task, you are not released from undertaking it.” —Pirkei Avos: Ethics of the Fathers, II:21 “Outrageously magical things happen when you mess around with a symbol.” —David Hammons There are over 70 spent nuclear storage sites in The United States. These sites are typically labeled exclusion landscapes and national sacrifice zones, bizarre new categories of non-natural wilderness wastelands (P. Galison) that reveal what it means to be human by rejecting us. U.S. National Nuclear Parks (Freaked Landscapes) is an options studio aimed at third-year landscape architecture students. Each student researched a historical landscape offended by energetic human processes involved in the production or storage of nuclear waste. They were challenged to design a National Park with a “nuclear marker system” as an immersive material environment that communicates a clear message for 10,000 years and does not rely on words for legibility. Nuclear marker landscape typology originated with the U.S. Department of Energy (DOE) in 1988 when two interdisciplinary teams of researchers were tasked with designing these 10,000-year landscape systems. In this studio, each marker system was framed under the stewardship of a new U.S. National Nuclear Park system and was required to identify multiple bound site conditions. Each park is a marker system that must explicitly address the social, ecological, and cultural justice complexities entangling local, national, historic, and global scales, as well as allow restrictive access through Master of Landscape Architecture

521

602 Core Studio Landscape Architecture Design VI

WashU Approach

Eric Ellingsen Assistant Professor

522

SP21

Bohan Wang

the design of a public ceremony, religion, or ritual. Students conducted research into pre-colonial and industrial histories, as well as geologic and ecologic assemblages, to establish critical, factual, and material foundations for speculative designs in preparation for the second half of the semester. This studio also participated in the Green New Deal Superstudio initiative organized by the Landscape Foundation. The Superstudio set the format for national submissions as three boards, a statement, and an optional video up to 3 minutes in length. In this spirit, each student also made a short “movie trailer.” In oblique ways, the trailers communicate the context of the park and propagate continuous knowledge of the marker systems. National research into maker systems conducted by the DOE demonstrates that the first 100 years out of the 10,000-year time frame are the most difficult for setting the idea in public consciousness. Because movies can instantly disseminate into the public realm potentially reaching hundreds of millions of people, they are a perfect transmitter for imprinting immediate knowledge of these contaminated landscapes into public perception. Making video trailers also compelled students to materialize landscape ideas in a time-based medium that synthesizes the emotional power of innovative design tools like sound, text, and image editing. Student work can slip into the public domain and start generating rumors of what is here now among us in the landscape, while speculating on what is to come. 1. Adapted from Wendell Berry, “We can learn about it from exceptional people of our own culture, and from other cultures less destructive than ours. I am speaking of the life of a man who knows that the world is not given by his fathers, but borrowed from his children; who has undertaken to cherish it and do it no damage, not because he is duty-bound, but because he loves the world and loves his children….”

Master of Landscape Architecture

523

602 Core Studio Landscape Architecture Design VI

WashU Approach

Eric Ellingsen

524

SP21

Tianhao Xiang

Master of Landscape Architecture

525

602 Core Studio Landscape Architecture Design VI

WashU Approach

Eric Ellingsen

526

SP21

Bohan Wang

Master of Landscape Architecture

527

Seminars Selection

WashU Approach

528

John Whitaker

Representation I: Hand Drafting, Drawing, & Sketching Representation II: Digital Tools Visualizing Ecological Processes Public Space and Ecological Knowledge Landscape Technology Planting Design Rethinking Design Standards

While the core courses establish the critical and creative frameworks of landscape architectural practice, the elective sequence explores evolving issues in emerging zones of landscape architectural knowledge and endeavor. This sequence is designed to extend investigations initiated in the core courses into alternative models of researching and producing landscapes.

Master of Landscape Architecture

529

Michael Powell Lecturer

Seminar

Representation I: Hand Drafting, Drawing, & Sketching The beginning course in the master of landscape architecture representation sequence, students in this course explore how combining analogue, digital, and hybrid media can contribute to the development and communication of design concepts. Through a series of quick exercises and a longer iterative project, students build a basic understanding of representational methods and materials, orthographic drawing conventions, methods for hybridizing media, styles of graphic expression, and various composition strategies. Emphasis was placed on the development of observational and drawing skills, building a design vocabulary oriented toward the conventional tools of landscape architecture and architectural representation, a critical exploration of representation as design thinking, using composition as a narrative device, and on the development of a specific representational agenda.

WashU Approach

530

FA21

Haouyu Yan

Master of Landscape Architecture

531

Seminar Representation I

WashU Approach

Micah Stanek

532

SP21

Sam Pounders

Master of Landscape Architecture

Moqui Yao

533

Micah Stanek Lecturer

Seminar

Representation II: Digital Tools In the second course of the Landscape Representation series, students become acquainted with digital landscape drawing and 3D modeling, focusing on the representation of landscape systems. The seminar began by experimenting with the digital line—how lines delineate space and material, but also how lines can represent trajectory or range of variation. Next, by adding in the hand drawing, painting, printing, and collaging techniques from Landscape Representation I, students augmented the digital in many ways. Through hybrid analog–digital drawings, students drew environments with time and contingency. This seminar especially focuses on digital tools that can support a generative, iterative design process. On digital platforms, students worked back and forth between 3D modelling and the composition of the drawing. The practice of representation centers around exquisite craft, intelligent methods, and precise communication. The projects required students to first become acquainted with new tools, then quickly find the most effective and efficient methods for producing them. They also ask students to address questions of audience. Images and models approximate environments; they are not actually environments. These approximations can be read and misread—aesthetically, rhetorically, politically, theoretically, and experientially. Students applied techniques in context to various exercises in this seminar as well as in the studio.

WashU Approach

534

SP21

Jingyan Wang

Master of Landscape Architecture

535

Seminar Representation II

WashU Approach

Micah Stanek

536

SP21

Chinh Pham

Master of Landscape Architecture

537

Seminar Representation II

WashU Approach

Micah Stanek

538

SP21

Chinh Pham

Master of Landscape Architecture

539

Micah Stanek Lecturer

Seminar

FA20

Visualizing Ecological Processes This course is the third in a sequence of representation courses in landscape architecture. Visualizing Ecological Processes builds on skills in 3D modeling and thinking about landscape representation through time. Adding to the representation of 3D in 2D drawings, which are becoming second nature to students, in this course, we attempted to use 2D images to represent space and time (4D) through time-based media. Video recording, digital editing, serial drawings, and animation broadened students’ abilities to analyze, interpret, experiment with, and communicate landscape processes. Following mini-lectures and discussions about what video can do, students built student their skills by making critical, rigorous videos that depict landscape environments, dynamic processes, and ecological ideas. Students grappled with time-based techniques from the history of film and video, as well as contemporary developments in landscape architecture and urban design. Techniques and tools are constantly evolving, so we discussed many software pathways, but the primary tools used in this course were from the Adobe suite—Photoshop, Illustrator, Premiere, and After Effects. These tools were used to illustrate chronological, phenomenological, experiential, and conceptual ideas in design. Projects focused on the art of storytelling, time-based media experimentation, and representation of design intent. While the WashU Approach

instructor mentored students through the assignments, they were open-ended to maximize the development of the student’s voice in landscape architecture. Rather than jumping right into video making, students first drafted an individual website. These portfolio websites explore 4D through interactivity, but also lay the foundations of narrative and experimentational communication. The next exercise helped students study a single site through the lens of the video camera, learning to produce time-based images by capturing, processing, and editing video. Following that, students were asked to clarify the narrative and amplify communication of a studio project—past or current—through animation of landscape drawings. “Ecological processes,” for the purposes of this course, referred to the ecology of human interaction with nonhumans, nonhumans interacting with other nonhumans and their environment, the social ecology of human–human interaction and human environments, and the perceptual ecology of how we as beings understand the world through our own perceptions. The individual student website served as the final “exam.” Students’ past work and the work of this course were integrated into an interactive online platform. These websites helped students voice their own understanding of ecology and their intended role in the field of landscape architecture.

540

Jiaqi Guo

Master of Landscape Architecture

541

Seminar Visualizing Ecological Processes

WashU Approach

Micah Stanek

542

FA20

Jiaqi Guo

Master of Landscape Architecture

543

Seminar Visualizing Ecological Processes

WashU Approach

Micah Stanek

544

FA20

Xiaoyu Yang

Master of Landscape Architecture

545

Micah Stanek Lecturer

Seminar

FA20

Public Space and Ecological Knowledge Public space is shaped by design but also by political, social, and environmental dynamics. Ecological design, especially on public land, requires alignment of various values, desires, and systems. One factor that limits the cultivation of a more ecological urbanism is the knowledge gap about urban ecological systems. Urban ecology research is on the rise but experiments sometimes come into tension with the public. This course located excellent examples of ecological design from history to the present, discussed the role of advocacy and public awareness, and speculated about how design could further collaborate with ecology. The first half of the semester was spent reading, touring—in person or virtually— conversing with experts, and researching as a group. The second half of the semester was spent analyzing a single public space to understand how ecological ideas are studied there and how ecological values are cultivated through design and operations. This course asked the following questions: Should ecological agendas be a matter of science and governance, or does ecological urbanism require democratic participation? Can designed spaces communicate ecological ideas for a larger public? Could design even be instrumental in the discovery of new ecological ideas? Toward the end of the semester, students made speculative designs in preparation for a 1:1 project. Markers, WashU Approach

signs, and other systems of interpretation were staged on the campus of Washington University in St. Louis or in Forest Park, in an attempt to draw residents into ecological discourse.

546

John Whitaker

Master of Landscape Architecture

547

Seminar Public Space and Ecological Knowledge

WashU Approach

Micah Stanek

548

FA20

John Whitaker

Master of Landscape Architecture

549

Seminar Public Space and Ecological Knowledge

WashU Approach

Micah Stanek

550

FA20

John Whitaker

Master of Landscape Architecture

551

Seminar Public Space and Ecological Knowledge

WashU Approach

Micah Stanek

552

FA20

Danni Hu

Master of Landscape Architecture

553

Seminar

Landscape Technology

Alexandra Mei Lecturer

Throughout the world of spatial design, landscape methods have emerged as a comprehensive and innovative approach toward defining and engineering sites. Techniques for working the land engage dynamic processes, molding conditions to control erosion, conserve water and natural resources, and minimize human impacts. Thus, the transformation of landscape design concepts into physical space depends on the creative use of these landscape technologies and processes. When such methods are integrated into the design process, the practice of landscape architecture reveals creativity from the scale of the site plan to the scale of the design detail. In this seminar, students learned how designed landscapes are documented and constructed. The material covered the spatial and functional systems of designed landscapes and their associated computational and technical processes. Students studied the principles of stormwater management, grading techniques, and circulation design to begin to form their own understanding of the practice of landscape architecture and explore the profession’s techniques and technologies and push their own design ideas further.

WashU Approach

554

SP21

Shuya Zhang

Master of Landscape Architecture

555

Seminar Landscape Technology

WashU Approach

Alexandra Mei

556

SP21

Shuya Zhang

Master of Landscape Architecture

557

Seminar Landscape Technology

WashU Approach

Alexandra Mei

558

SP21

Weicong Huang

Master of Landscape Architecture

559

Alexandra Mei Lecturer

Seminar

Planting Design Planting Design applies and expands the vocabulary of plant material to understanding the definition and construction of landscapes. This sevenweek seminar was structured around the relationship between plants, place, and people, developing a framework for students to explore plant communities. Weekly design exercises illustrated the comprehensive process of designing a plant environment, from site exploration through to planting plans and documentation, emphasizing conceptual thinking and an understanding of management and sustainability. These exercises culminated in a final planting design for a site in the College Hill neighborhood, owned and used by the Urban League of Metropolitan St. Louis.

WashU Approach

560

SP21

Shuya Zhang

Master of Landscape Architecture

561

Seminar Planting Design

WashU Approach

Alexandra Mei

562

SP21

Shuya Zhang

Master of Landscape Architecture

563

Seminar Planting Design

WashU Approach

Alexandra Mei

564

SP21

Chinh Pham

Master of Landscape Architecture

565

Alexandra Mei Lecturer

Seminar

Rethinking Design Standards With the increasingly urgent need to minimize carbon emissions and extraction processes, create universally accessible spaces, and respond to public health concerns, landscape architects must reevaluate standard practices and consider how their designs engage with local environments and communities over time. Key to this review is detail design, which is guided by standard practice and indicative of a project’s continued impact on its surroundings. In this seminar, students were pushed to question the current standards of landscape practice to design for the current moment in climate change, universal accessibility, and public health. Through lectures, readings, and research, students gained an understanding of what these design standards are and how they affect detail design. The class then visited selected sites in St. Louis to draw and document how these standards manifest in built projects, analyzing them at the scale of the detail. Finally, students developed their own design proposals and responses to these design details. Ultimately, design standards—through the lens of the detail scale—become the design project.

WashU Approach

566

SP21

Tianhao Xiang

Master of Landscape Architecture

567

Seminar Rethinking Design Standards

WashU Approach

Alexandra Mei

568

SP21

Nanqi Wang

Master of Landscape Architecture

569

Master of Urban Design Student Work

WashU Approach

570

711 Elements of Urban Design Linda C. Samuels Petra Kempf (Coordinator) Ian Trivers 713 Metropolitan Design Elements Patty Heyda (Coordinator) John Hoal Nathan Severiano 714 Global Urbanism Studio Jonathan Stitelman (Coordinator) Seminars Patty Heyda Petra Kempf

2020—2021

571

711

Elements of Urban Design Core Studio

WashU Approach

572

Instructors FA20 Linda C. Samuels

Instructors FA21 Petra Kempf (Coordinator) Ian Trivers

MUD711 is an interdisciplinary, systems-based urban design studio emphasizing the interconnectivity of macro- to micro-level systems, and opportunities for their spatial, social, and environmental design. Hybridizing strategies from landscape architecture, architecture, urban planning, and urban design, our aim is to utilize the tenets of infrastructural urbanism to develop next-generation, integrated design solutions that explore sustainable, innovative, and creative proposals for strategic interventions in multi-scalar systems.

Master of Urban Design

573

Linda C. Samuels Associate Professor

711 Core Studio

FA20

The Land on Which We Stand / The Stand on Which We Land MUD711 is an interdisciplinary, systemsbased urban design studio emphasizing the interconnectivity of macro- to microlevel systems, and opportunities for their spatial, social, and environmental design. Hybridizing strategies from landscape architecture, architecture, urban planning, and urban design, our aim is to utilize the tenets of infrastructural urbanism to develop next-generation, integrated design solutions that explore sustainable, innovative, and creative proposals for strategic interventions in multi-scalar systems. The semester was guided by two primary motivations: the momentum of global social uprisings for equity and their particular resonance here in St. Louis, and the emergence of an optimistic, big vision plan for more socially just and environmentally conscientious cities, the Green New Deal. Students responded to these calls through “infrastructural opportunism,” a strategy for leveraging, through design, large-scale investments in infrastructure to repair environmental conditions, increase social equity, and improve quality of life for all. The organizing spine was the newly renamed “Brickline Greenway” (formerly the Chouteau WashU Approach

Greenway), particularly its north—south alignment, which runs through some of the most economically and socially challenged areas of St. Louis. Run as an international competition between 2018 and 2019, the scope of the Brickline Greenway project has the potential to truly reshape the city as a more active, equitable, and design-oriented environment, particularly with our added emphasis on bringing next-gen amenities to the north side with a monumental effort to repair past injustices. Reducing the greenway to just a bike lane would be a huge missed opportunity. Our objective, by the end of the semester, was to leverage the city-wide investment to design a more optimistic future for St. Louis. As designers intervening in cities, we must contribute to solving some of the most complicated problems of this generation—resource limitations, climate change, mobility and access, economic divides, health disparity, and spatial injustice—while creating performative, inspiring, and vibrant human environments for all residents. Part of an urban designer’s responsibility is to use the skills of critical thinking, creative process, and spatial design to mediate between past and future,

574

Tiffany Dockins

growth and conservation, public good and private interest. Student reading, thinking, and acting throughout the semester and the year was focused on exploring their own definition of what urban design is and what urban designers do. As our impacts on the planet grow more pronounced (and irreversible) and our economic stratifications more extreme, each intervention must take on the responsibility of increasing urban sustainability. Students actively interrogated the relationship between architecture, infrastructure, ecologies, and urbanism to seek a more fluid, symbiotic relationship among them with the aim of producing a more advanced, well-designed, and just city.

Master of Urban Design

575

711 Core Studio The Land on Which We Stand

WashU Approach

Linda C. Samuels

576

FA20

Tiffany Dockins

Master of Urban Design

577

711 Core Studio The Land on Which We Stand

WashU Approach

Linda C. Samuels

578

FA20

Kia Saint-Louis Daniel Huang Yu Tang Catherine Hunley

Master of Urban Design

579

711 Core Studio

Petra Kempf Assistant Professor

Ian Trivers Senior Lecturer

Dig Where You Stand Students in the Dig Where You Stand studio investigated the phenomenon of the shrinking city as an opportunity toward new forms of living—forms that included positive and negative aspects of shrinking as a trigger for change. Situated in North St Louis, students tested emergent possibilities of life in and around the Hodiamont corridor, a 3.5mile transportation corridor that once connected seven neighborhoods. Within this framework, students explored challenges pertaining to growth and decline, energy production and distribution, food supply, education, and access to health care, while also investigating questions around why cities are generally only measured by their growth. Does physical decline mean fear, criminality and memories of better days? Are there alternatives to demolition? What establishes the cohesiveness of a city when the structural continuum of an urban grid no longer exists? Ultimately, student work explored mechanisms that could trigger the possibility for a common ground to spatially materialize and evolve between the seven neighborhoods located beyond the Hodiamont track.

WashU Approach

580

FA21

Yu He Xingli Li Boya Wang

Master of Urban Design

581

711 Core Studio Dig Where You Stand

WashU Approach

Petra kempf Ian Trivers

582

FA21

Yu He Xingli Li Boya Wang

Master of Urban Design

583

711 Core Studio Dig Where You Stand

WashU Approach

Petra kempf Ian Trivers

584

FA21

Chenyu Yue Xuan Wu

Master of Urban Design

585

713

Metropolitan Design Elements Core Studio

WashU Approach

586

Instructor SP21 John Hoal

Instructors SP22 Patty Heyda (Coordinator) Nathan Severiano

This studio engages the scale of the district and the design of public space, more fully considering the public policy, cultural, economic, and real estate conditions of cities. It involves travel to large North American cities such as Chicago, Dallas, Los Angeles, Toronto, and Washington, D.C. plus a spring break Lively Cities public life workshop in a major European city (past desitnations include Copenhagen, London, and Rotterdam).

Master of Urban Design

587

713 Core Studio

John Hoal Professor

SP21

Code Red: Fear | Exclusion +Privatization | Regulation Re-form-ing RedFields in the Middle Landscape “Shopping is arguably the last remaining form of public activity…. one of the principal—if only—modes by which we experience the city.” —Rem Koolhaas, “Project on the City II: The Harvard Guide to Shopping” (2001) Metropolitan landscapes are in a continuous state of self-organizing morphological and metabolic emergence driven by societal and economic trends and, as such, are synergistically materialized within different parts of the same metropole as growth and decay. In this studio, students investigated the middle landscape, particularly the red fields of this urban pastoralism, which were/ are made based upon fear and exclusion, privatization, and regulation to maximize profit—form follows finance + consumption. Many of these red fields in the middle landscape (malls, big-box stores, strip centers, office parks) are in decay, vacant, and/or obsolete, and therein offer an opportunity to re-vision and finally engage urbanism + mid-city mixers vs. hipsturbia + bobo’s.

WashU Approach

In this studio, students focused on conceptualizing the red fields metropolitan transect and engaging a range of different red fields in the middle landscape that offer the opportunity to re-vision and re-build based upon societal, economic, and environmental challenges with the intent to engage the question: Is there a possibility for an authentic egalitarian and economically and environmentally responsible middle landscape?

588

Kia St. Louis

Master of Urban Design

589

713 Core Studio Code Red

WashU Approach

John Hoal

590

SP21

Kia St. Louis

Master of Urban Design

591

713 Core Studio Code Red

WashU Approach

John Hoal

592

SP21

Yu Tang

Master of Urban Design

593

713 Core Studio

Patty Heyda Associate Professor

Nathan Severiano Lecturer

SP22

We the People: Making Space in Washington, D.C. The spring semester studio in the MUD program engages a growing North American city at multiple scales to examine how urban public and private life can be (re)shaped amid intensive pressures of growth and development. This studio drew on Washington, D.C., to explore those dynamics, with the added twist that it is a place characterized by nested political scales of local and national governance— even the potential for statehood. Being a nation’s capital brings compounded layers of complexity to the typical local–regional dynamics of citymaking, with the federal government competing for the same urban space. Washington is unique: it is a major city that is also a district serving the state, yet it is not located within any U.S. state. Residents pay federal taxes but do not have full elected representation in Congress. The familiar slogan “Taxation without Representation” on every city license plate suggests the contradiction and frustrations of being local in a capital center. All of this is rapidly changing, however. A serious bid for statehood is in the works amid calls for social justice and competing claims over public space. Layered scales of needs and agendas set the stage for urbanization in this formally distinct historic urban capital.

WashU Approach

The spectrum of urban design potential in Washington, D.C., therefore, lies between these extremes of neighborhood and nation state. Where an aging community warrants affordable housing, there may also be visions for an extended monumental core (and systems of capital that warrant dense, high-end development or corporate headquarters). “We the People” of our government takes on multiple meanings for design. Who is the “we”? The 700,000 residents? Politicians and dignitaries? The 24 million annual tourists? Or the nation’s subjects, including all of us? Design, planning, development, architecture, public engagement, and representation serve nested scales of capital, constituents, and agendas. How do designers navigate these exceptional, competing political-spatialideological needs and influences in the city “worthy of a nation”? Students explored Poplar Point, a prominent site within nested planning agendas that also has environmental constraints. In 2022, the site’s future hangs in the balance of its recent approval by Congress to transfer ownership from the National Park Service to the district. Poplar Point is poised for development, while overlaid by questions of its ecological relationship to the river and to L’Enfant’s original axial geometries. It is difficult to

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Weicong Huang

access and yet in proximity to the historic Anacostia neighborhood. The site forms a promontory at the foot of the Frederick Douglass Memorial Bridge—currently being realigned—across from the reinvented Navy Yard on the Anacostia River. Students navigated the strong formal condition of one of the most prominent growing American cities while negotiating criteria of democracy, political economics, design quality, climate change and sustainability, social equality, history, freedom, and human experience. The studio addressed urgent tensions faced in every American city, and compounded by the Covid-19 pandemic, global political threats to democracy, and irreversible, tragic climate warming.

The end of the walkable memorial axis is Frederick Douglass National Historic Site

People from the south of the city arrives through the Suitland Pkwy.

New streetcar line connects the Anacostia historic district, the Barry Farm and the new development The Big Chair is another imporatnt memorial site along the axis.

Extended urban texture from the Anacostia historic district.

Here serves as a tourism connection from Navy yard and other tourist areas to the Anacostia historic district, bring more consumption to the old district.

Tourists from navy yard could walk to the new development through the new pedesrian bridge.

The axis from Anacostia historic district meets with the axis from the Capitol here, opening up a memorial plaza and widened waterfront. Tourist from watertaxi People from the north of the city arrive through metro.

Axis from the Capitol

Connection to Surroundings

Anacostia First High Reservior

Ecological Corridor along Suitland Pkwy

Scattered ecological patches around neighborhoods. Hideout for foxes.

The lifted highway creats a ecological corridor under it. It could be a new passage for animal migrations.

Retored riverine wetland system with various water depths provides diversified habitats for local fish species, as well as other species such as birds and ducks.

Ecological Corridor

Master of Urban Design

Extended urban texture from the Barry Farm

Denser development gather near the traffic node

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713 Core Studio We the People

WashU Approach

Patty Heyda Nathan Severiano

596

SP22

Weicong Huang

Master of Urban Design

597

713 Core Studio We the People

WashU Approach

Patty Heyda Nathan Severiano

598

SP22

Sushimita Natarajan

Master of Urban Design

599

713 Core Studio We the People

WashU Approach

Patty Heyda Nathan Severiano

600

SP22

Timothy Buescher

Master of Urban Design

601

714

Global Urbanism Studio Core Studio

WashU Approach

602

Instructor SU20–SU21 Jonathan Stitelman (Coordinator)

This is an immersive, 14-week experience in a fast-growing city in Asia, Africa, or South America. These cities are marked by an active cultural scene, but a complex, challenging urban fabric. Recent studio locations include Accra, Cape Town, Dubai, Hong Kong, Johannesburg, Kampala, Mexico City, Shanghai, Singapore, and Tokyo. Students have the opportunity to establish areas of concentration through three urban design electives in related areas within the Graduate School of Architecture & Urban Design, as well as through the schools of Law, Business, Engineering, and Social Work (which includes the Institute for Public Health). With faculty approval, students can craft an individualized experience according to their interests and needs through the combination of electives.

Master of Urban Design

603

Jonathan Stitelman Visiting Assistant Professor

714 Core Studio

SU20

Bucky’s Spaceship Earth Re-Boot Global Urbanism Across 7 Continents This studio looks at global forces as they touch the ground in cities and regions all over the world. The current pandemic has exposed the interconnectedness of delicate, global networks. In an instant, it changed how we relate to and negotiate space, as well as the performance criteria of the built environment. This time of uncertainty provided an opportunity to assert a vision for the “new normal” after crisis, and to take a critical position on the value of cities and urban design to support resilience. We all found ourselves in a city that was unrecognizable from the one occupied just months before. In a disorienting cascade of events, the world changed in response to the novel coronavirus. The global economy sputtered; billions of people sheltered in place. Just like that, communities, social networks, and trading partners had to adapt to new rules of engagement. This summer semester took a multiscalar view of the global impacts of crises. In this studio, we were interested in the broad patterns and networks exposed by crisis and by the particular qualities they create relative to urban form, climate, and culture. Students tugged on conceptual threads to trace how familiar forms of urbanism have been adapted in response to social distancing, economic upheaval, and danger. The sequence of the course built on existing institutional and personal WashU Approach

partnerships with designers around the globe to create an immersive learning experience. Our partners taught us how the pandemic—in addition to unabated economic, climatic, and economic challenges—shaped their work and values in their region. By working with many partners, we unveiled the significance of this moment in regions around the globe. Each studio guest guided us through a workshop based on a different design method, allowing us to speculate on the kind of world we wish to create on the other side, and how cities will be a place of resilience, cosmopolitanism, and stability. In this studio, we showed how a thoughtful response to crisis can lead to durable strength.

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Joseph Mueller Rachel Reinhard

Master of Urban Design

605

714 Core Studio Bucky’s Spaceship Earth Re-Boot

WashU Approach

Jonathan Stitelman

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SU20

Joseph Mueller Rachel Reinhard

Master of Urban Design

607

714 Core Studio Bucky’s Spaceship Earth Re-Boot

WashU Approach

Jonathan Stitelman

608

SU20

Dongzhe Tao Haihan Qu

Master of Urban Design

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Jonathan Stitelman Senior Lecturer

714 Core Studio

SU21

Open Air: Market Urbanisms and Potentials The summer 2021 Global Urbanism Studio focused on the form, significance, and potential of markets. Markets are a space of fusion and hybridity, and one of the most persistent elements of urban development across history and cultures. The market creates a space for entrepreneurialism and vice-versa. Markets are opportunistic spaces where desire is imagined and fulfilled. Important features of the public realm, markets exist between street and building, and evince dynamic forms of ownership. As explored in previous Global Urbanism Studios, markets are also places of negotiation—of price, space, identity, and authority. This studio speculated on how the market can be a potent site for future design. Students designed the market as an expanded form of strategically located infrastructure, able to confront and mediate urban challenges. The semester unfolded in four segments using a range of techniques. Students began by fleshing out the concept and typology of markets. The first phase ended by framing a speculative future potential for a market, and then testing that speculation against two distinct contexts: Kampala, Uganda, and Zurich. To immerse themselves in St. Louis and to learn by doing, students collectively ran and maintained a stand in the local Hyde Park farmers market, selling postcards made with commissioned photographs WashU Approach

from artists in Zurich and Kampala,. The final exercise of the semester gave space for defining a central conceptual thread across the object of study (markets), the experience of running the market stall, and the two international contexts. In Kampala, students were joined by Doreen Adengo and Achilles Ahimbisibwe, returning to Nakasero Market for the third year in a row. Past studios have studied this market to understand the dynamic range of negotiations, urban elements, and characters that take shape in the city. These qualities are of contemporary significance as the Uganda government pursues a policy of mall construction that puts urban openair markets at risk of demolition. Our work this semester will help frame the power and importance of the market typology as a site for future urban resilience. In Zurich, students were joined by Patrick Gmür where work focused on three markets, each with its own distinct character, to speculate on how a single strategy of urban performance will take shape in response to context. The three sites in Zurich allowed students to work comparatively across the city and as a counterpoint to Kampala.

610

Yu Tang

Master of Urban Design

611

714 Core Studio Open Air

WashU Approach

Jonathan Stitelman

612

SU21

Yu Tang

Master of Urban Design

613

714 Core Studio Open Air

WashU Approach

Jonathan Stitelman

614

SU21

Catherine Hunley

Master of Urban Design

615

Seminars Selection

WashU Approach

616

Micah Floyd

Radical Mapping Confronting Urbanization Metropolitan Urbanism

In their studies, students develop the necessary analytical, research, and representational techniques to support their ability to interpret, represent, and design the contemporary urban landscape. In addition to the required studio sequence, students are introduced to urban design history, theory, concepts, and principles through required seminars: Metropolitan Development, Metropolitan Sustainability, and Metropolitan Urbanism. These courses explore basic concepts in the history and theory of urbanism, environmental and infrastructure systems, landscape ecology, urban development and public policy, economic and real estate development, and sustainable urban design. Students also take two master class workshops that focus on current urban conditions relating to informal urbanism and contemporary public space. The elective seminars featured in the following pages ask students to build upon required coursework and broaden their inquiries into other complex areas impacting the future of urban design, including suburbia, social and environmental justice, infrastructure and systems, and river cities and climate change.

Master of Urban Design

617

Patty Heyda Assistant Professor

Seminar

Radical Mapping Maps are instruments of power. We have seen this, for example, in the racially motivated “redlined” maps that legitimized urban clearings of entire neighborhoods in American cities in the 1930s. But maps are also instruments of resistance, for visualizing lived experience and critiquing political systems and relationships of power. Maps are tools for pinpointing accountability. This seminar introduced students to the agency and potential of maps and mapping, a skillset all designers need in the face of our current moment of social and environmental justice collapse—one that has long been occurring. The course covered interdisciplinary theories of mapping, critical cartography, and modes of visualizing power. Students built a collective set of maps focused on the spatial politics of Ferguson, Missouri and surrounding North St. Louis County region. The atlas builds on a body of work already underway that together is likely to culminate in a publication. An introduction to GIS software and data sources were provided in this class, although students were asked to question what kinds of data are available, and why. In some cases, students generated their own data in order to tell richer, more complex stories that countered dominant narratives.

WashU Approach

618

SP22

Annika Pan

Master of Urban Design

619

Seminar Radical Mapping

WashU Approach

Patty Heyda

620

SP22

Micah Floyd

Master of Urban Design

621

Patty Heyda Associate Professor

Seminar

Metropolitan Urbanism Students in this seminar investigated the conditions of the American urban− suburban metropolitan city region and the forces that shape it. They considered the urbanisms found in American cities, especially as spaces in the region grow, shrink, and transform, The class explored the making and unmaking of metropolitan space according to entrepreneurial and technological; economic, social, political, and racist; and conceptual, formal, material, spatial, and environmental priorities. Spanning a historical to contemporary time frame and a range of scales of investigation from broad urban settlement patterns to local urban spatial arrangements, the course provided an overview of the patterns, paradigms, and features of American cities—what we now refer to as metropolitan regions—and the reasons and factors for their growth, shrinkage, and change through urban design. Students explored design and urbanism from theoretical, case-based, empirical, critical, journalistic, and projective angles. Final projects mapped St. Louis sites over time, according to the often-conflicting forces driving change.

WashU Approach

622

FA20

Haley Elliott

Master of Urban Design

623

Seminar Metropolitan Urbanism

WashU Approach

Patty Heyda

624

FA20

Haley Elliott

Master of Urban Design

625

Seminar Metropolitan Urbanism

WashU Approach

Patty Heyda

626

FA20

Catherine Hunley

Master of Urban Design

627

Faculty & Staff

WashU Approach

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RALPH J. NAGEL DEAN, SAM FOX SCHOOL OF DESIGN & VISUAL ARTS Carmon Colangelo E. Desmond Lee Professor for Collaboration in the Arts PROFESSOR Heather Woofter Sam and Marilyn Fox Professor; Director, College of Architecture and Graduate School of Architecture & Urban Design John Hoal Sung Ho Kim Stephen Leet Bruce Lindsey E. Desmond Lee Professor for Community Collaboration Adrian Luchini Raymond E. Maritz Professor of Architecture Robert McCarter Ruth and Norman Moore Professor of Architecture Eric Mumford Rebecca and John Voyles Professor of Architecture Peter Raven George Engelmann Professor Emeritus of Botany PROFESSOR OF PRACTICE Mónica Rivera Chair, Graduate Architecture Nanako Umemoto ASSOCIATE PROFESSOR Chandler Ahrens Gia Daskalakis Catalina Freixas Patty Heyda Derek Hoeferlin Chair, Landscape Architecture & Urban Design Zeuler Lima Linda C. Samuels Hongxi Yin InCEES Associate Professor

ASSISTANT PROFESSOR Shantel Blakely Wyly Brown Eric Ellingsen Petra Kempf Pablo Moyano Kelley Van Dyck Murphy Constance Vale Chair of Undergraduate Architecture SENIOR LECTURER Ryan Abendroth Michael Allen Julie Bauer Philip Holden Richard Janis George Johannes Don Koster Doug Ladd Emiliano López Matas Gay Lorberbaum Dennis McGrath Robert Moore Phillip Shinn Jonathan Stitelman Lindsey Stouffer LECTURER Ben Arenberg Matthew Bernstine Melisa Betts Sanders Alisa Blatter Jaebum Byun L. Irene Compadre Maeve Elder Bob Hansman Dennis Hyland Carl Karlen Gavin Kroeber Paul Maginnity Alexandra Mei Allison Mendez Nick Oriss Amela Parcic Lynn Peemoeller Michael Powell Aaron Schump

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Jim Scott Nathan Severiano Micah Stanek Dusica Stankovic Brian Temple Jess Vanecek Andy VanMater Donna Ware John Whitaker

Iain A. Fraser Gerald Gutenschwager Robert Hansman James Harris Sheldon S. Helfman Leslie J. Laskey Donald Royse Carl Safe Thomas L. Thomson

RESEARCH FELLOW Jenny Price

DEAN EMERITI Constantine E. Michaelides FAIA Cynthia Weese FAIA

VISITING PROFESSOR Matthew Allen Ramon Bosch Ruth and Norman Moore Visiting Professor Maria Buhigas San José Barcelona Program Abroad Bet Capdeferro Ruth and Norman Moore Visiting Professor Marcus Carter Carlos Jiménez Ruth and Norman Moore Visiting Professor Karel Klein Kotchakorn Voraakhom Michael Willis José Zabala Barcelona Program Abroad

STAFF Ellen Bailey Program Coordinator, Graduate School of Architecture & Urban Design Audrey Treece Programs Manager, College of Architecture and Graduate School of Architecture & Urban Design Amanda Wortmann Administrative Assistant, College of Architecture and Graduate School of Architecture & Urban Design

VISITING ASSISTANT PROFESSOR Anna Ives Josep Garriga Barcelona Program Abroad, Assitant Coordinator Ian Trivers Hans Tursack VISITING SCHOLAR Tao Geng FACULTY EMERITI Kathryn Dean Paul Donnelly WashU Approach

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National Architectural Accrediting Board (NAAB) Statement of Conditions of Accreditation: In the United States, most state registration boards require a degree from an accredited professional degree program as a prerequisite for licensure. The National Architectural Accrediting Board (NAAB), which is the sole agency authorized to accredit professional degree programs in architecture offered by institutions with U.S. regional accreditation, recognizes three types of degrees: the Bachelor of Architecture, the Master of Architecture, and the Doctor of Architecture. A program may be granted an eight-year, three-year, or two-year term of accreditation, depending on the extent of its conformance with established educational standards. Doctor of Architecture and Master of Architecture degree programs may require a pre-professional undergraduate degree in architecture for admission. However, the pre-professional degree is not, by itself, recognized as an accredited degree. Washington University in St. Louis, College of Architecture and Graduate School of Architecture & Urban Design, offers the following NAAB-accredited degree programs: Master of Architecture 3 (MArch 3) degree (pre-requisite + required 105 graduate credits) Master of Architecture 2 (MArch 2) degree (pre-requisite + required 75 credits) Next accreditation visit for all programs: 2027 .

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The Sam Fox School of Design & Visual Arts at Washington University in St. Louis is a leader in architecture, art, and design education. We are advancing our fields through innovative research and creative practice, excellence in teaching, a world-class university art museum, and a deep commitment to addressing the social and environmental challenges of our time. Through the work of our students, faculty, and alumni, we are striving to create a more just, sustainable, humane, and beautiful world. The Sam Fox School was founded in 2006, uniting the academic units of Architecture and Art with the University’s museum to create a unique new paradigm for design education. Each of these units boasts a rich history: The College of Architecture (formerly the School of Architecture) was established in 1910, and has the distinction of being one of the 10 founding members of the Association of Collegiate Schools of Architecture. The College of Art (formerly the School of Art) was founded in 1879 as the first professional, university —affiliated art school in the United States. It is the only art school to have borne a major metropolitan art museum— the Saint Louis Art Museum. The Mildred Lane Kemper Art Museum (formerly the Washington University Gallery of Art) was founded in 1881 as the first art museum west of the Mississippi River.